The Independent Film & Video Monthly 2001-1

January/February 2001
Publication of The Foundation for Independent Video and Film
www.aivf.org
11
FILM & VIDEO MONTHLY
SNAOER TELESCRIPTION LIBRARY
STUDIO 54 UBRARY
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2001
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, administrative director; Michelle Coe,
tor;
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James Schamus*,
Valerie Soe
*FIVF Board of Directors only
THE INDEPENDENT

Upfront
31 On View
A selection of this month's

releases
News
IFFCON and EVEO's

pitch; Solaris'
fund;
new
by Jim
virtual
The Shooting
by
at
FAQ &
Info
retires;
air;
44 Distributor FAQ
Jerome.
Brendan Peterson;
Tamara
Power
Colvill
Gallery
American High back on the
more funds
airdates.
finishing
and cineBLAST! buyouts;

ITVS's Jim Yee
TV
and
Krinsky; Paul
Shooting Gallery
Entertainment gives overlooked features a chance
and comes out

Y
a winner.
LlSSA GIBBS
15 Opinion
Requiem for a Dream's producer
calls for a
46 Funder FAQ
re-examination of
the ratings process.
Venice, CA-based Echo Lake
Productions provides financing
Watson
by Eric
for narrative features.
Michelle Coe
16 Wired Blue Yonder
Screenwriter 2000 allows two
writers to
by
49 Festivals
work on the same
script at the
same time
on-line.
Paul Power
54 Notices
60 Classifieds
18 Festival Circuit
Views from the Avant Garde
the
New York
by
Brian Frye
at
Film Festival
64 Events
66 Salons
67
Member
Benefits
Departments
22 Books
COVER: Michelle Yeoh
Emile de Antonio in the
Crouching
Tiger,
in
Ang Lee's
Hidden Dragon,
first
Good Machine's
latest release.
person.
by
Brian Frye
24 Technology
A sampler of visual effects,

animation, and compression
software for your desktop editing system.
by
Greg Gilpatrick
28 Legal
How WGA, DGA,
and
SAG
are dealing with Internet
and
multimedia contracts.
by
Robert Seigel
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G^D
PorfGCt Pitch:
EVEO and IFFCON's On-line
by
International
the
Last July
EDITED BY PAUL POWER

accessibility of projects to
Pitch Session
web viewers
including potential financiers
Brendan Peterson
dreds of filmmakers. Since
its
hun-
for
launch in
1999 Eveo has focused on leveraging the
Film
Financing Conference (IFFCON) teamed

with Eveo, a "user-generated" video web
site,
an opportunity
to create EveoPitch,
filmmakers to pitch narrative or docu-
for
mentary projects to a jury of industry executives by creating short, on-line movies.
Filmmakers were invited to submit three-
minute videos, or "eveos," to
their
sell
ideas for a feature-length narrative or doc-
umentary project. Almost 80 submissions

were received, ranging from talking head
testimonials to artsy animations.
Filmmaker Katherine Brooks
first
heard
about EveoPitch at Outfest where she was

screening one of her films.
way
to think of a creative
I
had
classic
for a
me
in
Uniform," says Brooks.
thought
it
was important
to treat this as a real pitch
things like marketing
the end
my
had two days
remake of the 1931 German
Maedchen
"Initially,
"I
to pitch the idea
for
and cover
and budget. But in
stuck with the main feature of
movie, the
series of signs to highlight the
themes of her film and was ultimately chosen as one of four winners. Her prize?
expenses paid
trip
An
and in-person meet-
ing with a top-level development executive to discuss
eveo to premiere on the Eveo web

After one meeting Brooks
optimistic. "At this point
expectations, but
is
don't have too
do believe
it
will
Anderson and Tami Gold for the documentary Every Mother's Son, Gregory
Feldman for his narrative Beginning of the
and Yoav Potash
for his
documen-
tary Point of Entry. For these filmmakers,
the road to the EveoPitch winning circle

fast
and
San
2000 voted on the 20
finalists
top 20
TV
by a jury of film and

Ironically, despite the
executives.
high tech nature of
selves
all
watched the pitches on good
old-
fashioned videotape, rather than on-line.
IFFCON
executive
director
To begin, each EveoPitch submission

was shown on Eveo.com where an on-line
audience voted for their 10 favorites. At
members
at
IFFCON
filmmakers of
as
"EveoPitch
falls
right
IFFCON's long-term
in
line
with
goal to connect film-
makers with financiers," says Braitman.

Since 1994
IFFCON
all
shapes and
With EveoPitch,
sizes a voice.
these filmmakers were
given a chance to sidestep the barriers of

the Hollywood machine
and get
ideas through to the people
their
who make
movies happen.
Eveo's senior director of talent and business
Danielle Knight, was excited
affairs,
EveoPitch making
to see
Wendy
Braitman saw the partnership with Eveo
technology and the Internet to give
latest
the EveoPitch concept, the jurors them-
a difference for
some of the filmmakers she works with.

"Eveo.com is built on the idea that filmmakers should be empowered to express
themselves. With EveoPitch filmmakers
can take
to the next level by gaining
it
access that they don't generally have."
has provided a meet-
When
asked about the possibility of
ing ground to assist in the financial devel-
future EveoPitch projects, Knight
opment of nearly 400 independent films,

among them Three Seasons, Crumb, and
tain at best. "At this point we're going to
Getting
ty
Know
You.
"We
liked the integri-
of this project," she says. "It wasn't
about
to
to
false promises.
hand filmmakers
Sure
it
would be nice
a million dollars, but
getting these meetings with executives
furious.
the same time staff
The
were then screened and evaluated
site.
cautiously
Other EveoPitch winners included Kelly
was
at
the logical next step for her organization.
get funded through EveoPitch," she says.
Epitaph,
entries they liked
audience
live
finalists, selecting its favorites.
her project. In addition she
received a check for $1,000 to create an
many
story."
filmmaker climbing a tree in slow motion
all-
Finally,
Francisco's Resfest
Brooks created a pitch that featured the
and using a
and Eveo chose the 10

best.
play
by
to
and we
ear.
do
it
commit
wait and see
how
For further
or
been
It's
again. But
aren't sure
position to
is
more of a long-term strategy for success."

For Eveo the chance to partner with
IFFCON, their San Francisco neighbor,
meant a credibility boost for this new web
site and, more importantly, increasing the
it
want
fantastic
it's
uncer-
and we
a big project
whether we are
in a
into the future. We'll
this first
into,
is
one plays out."
contact: www.ifTcon.org
www.eveo.com
Brendan Peterson [swordfshfQ wenet.net]
critic
&
writer
who
covers independent film
in
is
the
San Francisco Bag Area.
January, February
200
THE INDEPENDENT
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at large.
what we were doing and they weren't trying to rob us blind. I was skeptical until the
contract came, but when I read it, it was
exactly what they said it would be."
Power
Solaris
New finishing fund from

Tumbleweeds
the
team.
Solaris
is
also interested in supporting
narrative features, but has not yet found a
which they have

invest. "While a
project in
enough
to
have to be
felt
strongly
film doesn't
commercial or contain
typically
we have
name
talent,
film
strong and unique enough to garner
is
theatrical
to believe that the
explained Greg
distribution,"
O'Connor. "We have an obligation to our

but
investors,
really
it's
the
Seed money
weeds,
From Stephen Earnhart's
Mule Skinner Blues.
duced
Fine Line Features.
wrote/di-
raised the rest through private investors.
rected
Financing
respectively,
is
a finishing fund that provides postpro-
duction financing, technical support, and
independent
film-
to
makers, so that
monies
dating,"
form a company of film-
if
you needed additional
didn't feel like
it
and talking
to suits,
three
to
Woodstock
documentary
My
Generation
festivals
tions of a
John
Specimen
(a
look at
Florida),
The
Hyams-directed
look at the world of no-rules
champion fighter who defies

every stereotype of what that should be)
fighting
and
Jem Greenhalgh, producer of The Specimen, chose to work with Solaris specifically
because of their filmmaker-friendly
tude.
"We went through
ing groups of investors

trying to take
we met with
amount of money they put

is some sort of
Usually there
is
pressured to
money-
making enterprise. It's a

way for us to give back and
become involved with
emerging filmmakers and
allow them to
Finding
dreams."
fulfill
their
Gavin O'Connor
one
on the
There are no budgetary or format
into a film.
credit given
atti-
and the
to Solaris, but credit
each project with which they become
money-making
enterprise," said Gavin. "It's a way for us to
give back and become involved with
emerging filmmakers and allow them to
involved. "This
fulfill
isn't
a huge
restrictions
but the
Solaris projects,
for
Filmmakers have found that the true

value of a deal with Solaris
lies in
taking
When
they were open to
blow-up.
The company became
involved
with both Mule Skinner Blues and The

Specimen after seeing
trailers for
the films.
Fagin say that
it's
important to be able to see something

visual as
opposed
to just reading scripts.
"You don't know what you're going to get
and the
with a new director," explains Gavin.
offered through the post process,
open doors
their partnership brings with
After agreeing to take on a film, the

step for Solaris
is
it.
first
to assess the postproduc-
tion budget. This is usually done by Eitan

Hakami, the post supervisor on Tumble'
weeds, who works at Post Production
New
post house. After the budget has been
us, hitting us
any
at
advantage of the guidance and support
who were
totally
can become involved
lion. Solaris
stage of postproduction, from rough cut to
The O'Connors and
their dreams."
four other financ-
advantage of
Solaris,
based
felt
he didn't agree with
"This isn't a huge
rather
process. Financially, the Solaris deal
if
it.
this way,
Playground, a
with deal points, lawyers, et cetera.
execute a suggestion
Solaris
Mule Skinner
park near Jacksonville,
input he received for re-shoots on Mule

Skinner Blues, he never
an ongoing
is
equity,
the brothers' refusal to dictate a specific
funding have had budgets below $1 mil-
group of individuals living in
the
Solaris.
fund
of Solaris'
the financing are negotiated individually
projects:
(a
is
creative decision-mak-
the
much
for
Blues (an exploration of the artistic aspira-
and
for
Generation,
on dealing with foreign sales

entities and with the special screening that
film had at Sundance last year. However,
while both O'Connors say they will make
creative and business suggestions, one of
the things that makes the company unique
are buying into the exper-
who run
My
focus was
intimi-
of 1969, 1994, and
1999), Stephen Earnhart's
trailer
and
of those
investors
For
who
publi-
majority of films under consideration for
you were going
which can be
Greg O'Connor.
says
Barbara Kopple's
the
no
investors have
tise
cist.
and
his producer's rep
specifics of
Completion Partners has currently committed
than into a particular project. In

ing power,
became
Greg O'Connor then
limited liability corporation,
later
put into the company, which
of proportional
makers.
"We wanted
came
the 1999 Sundance sale of Tumbleweeds to
from befalling other filmmakers. Their
sales representation to
for Solaris originally
1999
newly formed Solaris Completion Partners

is
financial consideration.
they
is
Additionally,
clips.
they introduced him to individuals
Stephen Earnhart valued the creative
the
from a portion of the money made from
they decided to try to prevent the same

fate
comes before
music and
licensing
who
with
O'Connors, aesthetic consideration of a

film
to first-time
course of action. While first-time director
fund
finishing
was especially helpful
producer Greenhalgh with questions about
about stuff we
believe in." According to Josh Fagin,
runs
Solaris
refined, Solaris'
vary,
York-based one-stop
depth
of
involvement
On
in at this point allows us to see
whether or not
new
director can take the
words on the paper and pur something on

screen that has true vision.
a
We
luxury tor us to conic in after
realize
it's
it's
shot."
To approach Solan- Completion Pinners,
Josh
contact
Fagin
at
(2\2)
$43
7400.
will
depending on the needs and knowl-
edge of the filmmakers.
"Coming
The Specimen,
Tamara Krinsky
actress/wtiter.
Program
January February
is
u Los Angeles-based freelance
She currently works for the Film
at the
2001
IS.
Comedy
Arts Festival.
THE INDEPENDENT
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BUYING BINGE:
& Shooting
CineBlast!
We
Galley
Scooped Up
market
ing a downturn? Last
two
percent stake that self-described "world
media provider" itemus
(www.itemus.com) announced
it
inc.
and web/interactive company
Shooting Gallery.
The Canadian venture
and solutions company injected
capital
$56 million into Shooting Gallery
as part
of a share exchange deal. Shooting Gallery
TV and music
will spin off its existing film,
development, and distribution business to
new
existing stockholders as a
its
alone company,
"A lot of this
says
"If
stand
Shooting Gallery Enter-
has to do with branding,"
CEO
Holland,
Gill
cineBLAST!
of
you work hard enough to create a
brand
The Shooting Gallery and
like
From Tim McCann's upcoming Revolution #S,
Miramax, you can create a value for

your company that's intangible."
major success, and a third one
to be a
FAQ,
for
For
purposes
of
Shooting Gallery was valued
and
now becomes one
it
owned
the
deal,
of three wholly
subsidiaries of itemus Inc. in their
investments portfolio of advanced net-
mobile
working,
media
commerce,
and rich
"We needed a big-branded presence

new wave of marketing com-
cineBLAST!
was
acquired outright in September by
NAS-
DAQ-quoted multimedia company
Digital
Holland's
Gill
said
Jim Tobin, president and
mus,
the
at
Shooting
press
joint
Gallery's
CEO
of
ite-
conference.
diversified
base
(Shoting Gallery Productions, East Coast

Post,
five
Gun
TSG
for Hire,
digital
studio
Pictures)
operations
with
(Digital
Media Centers) throughout the U.S. and

Canada and over 200 employees, has shifted from
its
original production base (Sling
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DC2's stock and cash deal has given
cineBLAST! 's
rights to
it
library of 15 titles,
which includes features by John Luke

Montias
(Bobby
Yearkes
(Spin
the
(Revolution #9),
Can't Swim), Jamie
Bottle),
Doniol-Valcroze
(Kill
Mole),
(The
Tim McCann
Arthur Flam and Diane
Mauro
by Inches),
and Rich
with
together
cineBLAST! 's shorts.

"A lot of this is to do with branding,"
says Gill Holland, CEO of cineBLAST! "If
you work hard enough to create a brand
like The Shooting Gallery and Miramax,
you can create a value for your company
that's intangible." Intangible, that
BLAST!
ation
intends
to
Ralph
position
cine-
new studio opercoast. The company
in his plans for a
on the
panies
until
is,
east
already has acquired 15 other media
ranging
providers,
com-
from internet content
broadband technology, and B2B
creative-services firms to postproduction
cineBLAST!
continue to
will
develop and produce projects as before.
leader in the
munications that involves broadband,"
We
44}.
p.
houses, and
solutions.
is
Distributor
[see
someone makes you an offer.

DC2's president and CEO
$70 million
at
spring
this
Sorrentino
tainment.
sound
systems and
planned
specializing in
mixing. Film editing at
fps on high
a cineBLAST! production.
was tak-
ing in production, distribution, postpro-
duction,
and
York-
and cineBLAST!, saw an infusion of

finance from high-tech media ventures.
The big news in October was the 80
rich
services;
tak-
is
New
based film operations, Shooting Gallery
class
facility
and audio post
finished on film.
Who said the high-tech

fall,
are a
picture
Changes at cineBLAST! include the

an additional four staff members
development, production, and office
hiring of
in
management
areas.
The company's output
of an average of six projects a year will
remain
around that
at
will shift,
level.
The budgets
however: "One third
will
be ultra
low-budget, but the other two-thirds
will
be a step-up to $2-$5 million budgets,"

says Holland.
ly
Although these
will primari-
be fiction films, cineBLAST! continues
Can Count on Me). The main

and revenue now flow from post-
Blade, You
activities
production and rich media creation, while

in
distribution
launched
last
the
screening
to executive
as
produce documentaries, such
Tim Kirkman's
Decir Jesse
Paul Power
series
year with Loews has proved
and Ryan
Deussing's upcoming Confederacy Theory.
Paul Power
is
managing
editor of
The [ndependenl
January February
THE INDEPENDENT
11
Indie
The online resource
for
independent filmmakers.
Agents
Buyers
Classifieds
Distributors
Equipment
Festivals
Funding
Grants
Markets
Post-production
Producers
Schools
Screening rooms
more...
www.indie7.com

humor
of
Jim Yee Leaves ITVS

Jim
executive director of the
Yee,
Independent Television Service (ITVS),

resigned his post last
November because
was the
serious health problems. Yee
ond head of ITVS,
sec-
1994
arriving in
of
to
field.
his
social
to
and
NAATA
Stephen Gong,
board member.
"Jim likes at times, to present a 'take no
other business processes. This impatience
spent
is
director
and
co-founder
of the National
Asian
American
he has such a
soft heart
"He
who
good
relishes a
fight
and
challenges,"
really big
"He
director, Gail Silva.
has incredible stubbornness and a very
wry
and
wicked!
slightly
humor." Janet Cole,
sense
who was on
the
of
FAF
Telecomm-
board with Yee in the early eighties and
unications
was coordinating producer
Association
Yee arrived there, notes
(NAATA).
both
was
Yee
among
the
original
group
and pragmatism, he has

always found ways to work both humor
his idealism
and an overview of
of
"He
cated
halls
for-
mation.
His
and aesthetic vision heralded
of enormous integrity
ITVS
alive in the
of Congress," says Lillian Jiminez,
who worked
when
with Yee
she was chair
of the National Coalition of Independent

Public Broadcasting Producers. "He's sort
of a
accolades for the organization, including
(silent
the project, helped
into his
he's involved in the political
machinations of keeping
period of unprecedented productivity and
numerous awards. "He's been responsible

for the best body of social issue documentary work in American television history,"
claims Jack Willis, programmer of public
satellite channel Worldlink, where many
ITVS programs have been aired. "Jim was
also instrumental in making Worldlink
happen," notes Willis. "He threw the
man
is
even when
ITVS's
situations
approach to problems and opportunities."
producers
who advofor
ITVS when
how "through
at
between the Road Runner

and the Energizer bunny
cross
and
fast)
he keeps going
thrown
much
in spite of
in his path. In
all
many
the hurdles
ways, he
is
so
a child of the sixties: self-reflective,
open and accessible yet

sionate
distant,
compas-
and tremendously funny
that
cacophanous laugh reverberating in conLiu has
through
known Yee
all
for over
30
years,
stages of his career. -"Jim
is
develop the channel, and has been sup-
fighter with
portive of
and vision and fighting for what he

believes, as if he was born to be a warrior
In
it."
1998,
Yee
Commission on
served
on the Gore
Digital Television
and the
PBS
"On
Satellite Interconnection
the Gore
Commission he spoke up
not
only
the
for
public
Committee.
interest
but
addressed content as well," notes David

Liu,
Executive in Charge of Program
Development
Yee's
been
many
at
ITVS.
friends
effusive in their praise of his business
and those character
he notes.
that sort of atmosphere,"
"He's able to build bridges due to his spirit,
integrity,
fact that
had
he
and
is
a sense of
the right
vision,
but also due to the
very intensely personal and
humor
that broke the ice at
and
social
partic-
traits
ularly his tenaciousness allied
with a sense
very hard
to
replace,"
concludes
Liu.
"There's a huge sense of loss at not having

his presence, input, energy,
and
vitality."
War Room,
Can-
(The
has saved the fly-on-the-wall high
Perfect
school series from permanent expulsion to

[See story in the October
Fox's vaults.
]
American High, an innovative
which footage filmed by students
series in
com-
is
bined with filmmakers' footage of the

goings-on
at a
Chicago high school, was
produced and owned by 20th Century Fox

Studios in association with Cutler's Actual
Reality Pictures. Fox gave the
two weeks
time
show only
in a fiercely competitive prime-
summer slot before deciding to drop it

ratings. The studio did, howev-
due to low
allow Actual Reality to conclude shoot-
er,
which took them up to mid- October.

is
keen to make a distinction
between 20 th Century Fox studios, which
financed the project, and the Fox broadcasting network, which aired it.)
"Even though Fox broadcasting decided
ing,
(Cutler
not to run the show, the studio stood
behind
and continued backing
it
it
to the
end," says Cutler. "As supportive as the

studio was, the network really blew
this
show
there were
decisions made."
it
with
a lot of unfortunate
These included premier-
midweek on August
the series
ing
2,
"which was questionable, especially since

this series
was geared
to high school stu-
dents and their families," notes Cutler.
It
premiered with only three weeks'
also
notice, although Fox's Boston Public,

late
which
October, had been heav-
promoted since mid-July. The final

was
American
High's
direct
ily
straw
Wednesday night competition

Brother.
we
CBS's
Big
"These factors preordained that
weren't able to deliver numbers to stu-
dio executives," concludes Cutler. Yet the

series
had
a not inconsequential five mil-
lion viewers tor the three aired episodes
(the season premiere featured two back-toback episodes) and, notably, held its audi-
ence
moment.
PBS to
Cutler
for
each
of these half-hour periods.
Cutler attributes the show's salvation to
"He's a rare individual who'll be very,
and colleagues have
sense, his passion for activism

justice,
in
an instinctual sense of battle
by
didate),
premiered in
fined spaces!"
on October 24
decision
acquire American High, produced by R.J.
someone
Film Arts Foundation
says
(FAF) executive
is
on
always willing to take
is
The
Independent.
and great empathy."
as
executive
approach to management and
a front because
for
acumen,
building consensus," notes
for
gift
PBS Provides Class

American High
and
justice
equality, tireless energy, political
Schott, hav-
the prior 10
ITVS behind
a leader in
prisoners'
years
weight of
made him
Jim's finer qualities are
replace John
ing
leadership
which
"Among
commitment
the
new TBS head
Pat Mitchell (see interview
whose "tremendous enthusiasm

and commitment" paved the way tor an
unprecedented acquisition K the public
p.
56],
Paul Power
January/February
2001
THE INDEPENDENT
13
audience to develop and

a vital element
which Fox's impatience
build,
didn't allow.
Episodes that were 22
minutes long
Fox
for
will
be retooled to 27 minutes
PBS
on
stantial extra
over
run
the
series).
(an sub-
70 minutes
of
the
The producers
need have no worries

about finding additional
Cutler
material:
shot
2,800 hours for 14 30-
minute episodes
(com-
pared with 40 hours for
The War Room and 150

hours
for
Perfect
Candidate).
Paul Power
American High producer
R.J.
Cutler
broadcaster of a primetime
PBS
plenty of ideas for the future and
28th
Athens
& Video
TV
is
and
right to
April
27-May
remain with Fox, says PBS's John
title
ming
At
make more
the
contact
fall.
When
episodes of the series.
David
if
PBS
frag-
airs
the
Zeiger's Senior Year,
"We
disagrees:
see
offer viewers.
American High creates even more
and stature
for this
profile
kind of programming."
Senior Year will be able to "ride the tide"
that American High generates, he adds.
(fax)
"We're absolutely going to use American

High in prime time.
Box 388
Athens, OH 45701
P.O.
age and
we
makes sense
will
to
The Athens International

Film and Video Festival is
tional
project of the College of

University.
which
its
is
in a
way
not PBS's
and
PBS
THE INDEPENDENT
The
Foundation
Jerome
announced a
change
their
to
amounts and application
recently
funding
its
specifications.
After soliciting feedback from the
field,
Minneapolis-based foundation has
the
increased the ceiling for grants to individual
media
artists
from $20,000 to $30,000.
Executive director Robert Byrd stated that
amounts
grant
now
will
from
range
$10,000-$30,000.
More
importantly, the foundation
now
allows applications from productions with
budgets of up to $200,000. This increase,
from
its
previous limit of $75,000, which
was "unreasonable, even

artist," says
Byrd, was
for
made
an emerging
in response to
feedback from applicants.

"We're trying to help people get closer
to seeing their
work completed,"
says Byrd
of the measures, which are effective immediately.
Contact the foundation
at:
(800) 995-
3766 or (612) 224-9431; www.jeromefdn.org
Paul Power
that
That
Errata
tradi-
parents,
the opportunity to test
promotional programs including web
development and online interaction, outreach to schools, and allowing time for the
14
Jerome's Dollars
get great coverit
target audience."
teens
viewership
will give
It will
promote
its
target audience
Ohio
for April or
and audience
have a very strong strand to
[email protected]
740-593-1330 (tel)
at
it
them as very
complementary and between them we
Wilson
email:
the
asked about whether possi-
series opposite
iWww.Athensfest.org
740-597-2560
has
press time, station executives hadn't yet
mentation would occur
T" Fine Arts
PBS
although
services,
decided whether to schedule
5 2001
station.
American HigWs concept
ble scheduling conflicts
Erftrres:
Cities Public
Wilson, senior vice president of program-
option to
Festival
Twin
American High's presenting
The
com-
is
with PBS's "long view of the
fortable
future." Minneapolis'
Film
Terming
series.
dream," Cutler has
producer's
"a
In
the
November
issue's interview with Skip
Blumberg and Linda iannacone,

that Free
FSTV
Speech TV
airs on
airs
it
was
stated
on DirecTV. Rather,
DISH Network (Channel 9415). The
Independent regrets the
error.
(Û-^-J^JSiJ^j)
Requiem
for a Rating
"The
must
whether
(a)
Watson
by Eric
a warning in
AS

^MM^
l^^k
^B
must
sooner or later
the
face
^&
we
ers
jfl
INDEPEN-
dent filmmak-
, v
MPAA
and
system of
its
as-
signing paren-
MPAA
rather
it
must keep those who pay
happy; otherwise
able to sustain
films like
how
would not be
it
this in
mind,
it's
morally bankrupt
8MM and Scary Movie are able to
R ratings
obtain
With
itself.
easy to understand
despite their graphic con-
tent while films such as Happiness and Kids

are
slapped with
MPAA
can do
NC-17
this
ratings.
The
without repercussion
because major studios are not distributing

these films and the filmmakers have
leverage to change the
MPAAs
Requiem for a Dream, which

is
due to the decision of a few paid jurors who
no
and
can understand why
that determination. However,
many
that
to see this
parents
par-
their children to see
they have the right to
feel that
will
want
make
ance, thereby receiving the film's powerful
message.
It
would be unfair
that choice.
the
It is
R rating was
Ultimately,
guidelines
for
to
deny parents
such a choice that
for just
have no
issue with ratings
parents,
long as they
as
remain guidelines and don't carry
The NC-17
tions.
ent's right to
rating takes
choose what
children. If the
is
restric-
away
a par-
best for their
MPAA were a government
organization, the
produced,
unconstitutional.
NC-17
rating
would be
MPAA,
30 years that
Requiem for
acters
who attempt
to
fill
the emptiness
they have inside with their various addictions.
The
film's
climax
an extremely
is
itself
community
it
then the government
will.
FTC
self-regulation doesn't solve the-
and existing laws don't cut
it,
a national threshold, not
is
test.
Dream
there would be no doubt that
does not appeal to a prurient interest
and that
does not lack serious
it
and
artistic,
ly this is a
judgment best
me
literary,
But ultimate-
political value.
to the indi-
left
or any other group, leg-
islative or otherwise.
would be arrogant and foolhardy to
It
deny that there
guidelines
when
however,
nation;
overwhelming support
is
ratings
effective
for
in
our
these guidelines
become blanket enforcement proclamations like the
NC-17
upon an
rating, they
begin to
freedom
individual's
of
video-store chains or
theaters
carry
chair
Robert Pitofsky recently commented,
Court has
standard were applied to Requiem
If this
for a
deemed
to be
as the
(c),
compounded when
motion picture industry does not police
Jr.,
held elsewhere,
work
the
effectively argued for
if
for
obscene, and part
self-determination. This problem
tive ratings system.
Adapted from a novel

legend Hubert Selby
a Dream follows four char-
must be met
three parts
all
has
by American
literary
whole
commu-
does employ
(a)
However,
nity standards.
infringe
Jack Valenti, head of the
as a
or scientific value."
Note that part
vidual, not to
intended.
and
whether the work, taken
lacks serious literary, artistic, political,
also believe
their children
movie under proper adult guid-
decisions.
the latest film to suffer from this restric-
Many
have no public accountability.
sexual
defined by the
specifically
applicable state law;

(c)
powerful
film's
patently offensive way,
conduct
could affect the most
it
may not want
in
me.
to
a cautionary tale
is
unfortunate that the
Requiem for a Dream.
for
whether the work depicts or describes,
fallout
its
about the potential dangers of addiction.
ed by us or
annual payroll. Like any paid
MPAA
the
bills
Requiem for a Dream
was not creatus;
the
and
ratings controversy
have been very disheartening
It's
est;
(b)
ents
was created by the eight major studios that
jury,
The
find that the work, taken as a
whole, appeals to the prurient inter-
security guards to enforce these
our
the
its
and hired
measures.
adult audience that
films.
would
not allow anyone under 17 to see the film
moral themes cannot reach the young
Unfortunately,
maintain
would
guidelines
tal
to
its
'the average person, applying
contemporary community standards'
dented step of demanding that Artisan put

ads stating that they
basic guidelines for the trier of fact
be:
"If
problem
legislation
Amendment must
refuse
to
is
further
material based
upon these ratings guidelines. When lawmakers

(Congress),
or
paid
juries
(MPAA), or exhibitors, or retail chains
begin to make these choices tor us, they
erode our basic freedoms.
harrowing vision of the depths that these
respectful of the First
characters descend to in the battle with
be considered." This sentiment has strong
their addictions.
bipartisan support in the Senate, with both
that the
found the climax to be
Democratic Sen. Joseph Lieberman and
due
NC-17
Republican Sen. John McCain threatening
standardized set of guidelines that do not
the film industry doesn't clean
impose restrictions upon the individual's
Amendment
dren.
The
MPAA
overpowering and gave the film an

rating.
Artisan Entertainment attempted
to appeal this
judgment and
was rejected. As Artisan

ry of the
form to
MPAA
its
is
their appeal
not a signato-
they do not have to con-
ratings guidelines
and chose to
release the film without a rating. Unfor-
legislation
up
if
First
clearly protects
the freedom of speech, and a standard of
obscenity was defined
Court
to
in Miller
v.
by
the
Supreme
California in L973 which
Eric
NC-17
its
right to
its act.
The
time for the
is
It
MPAA
rating
is
restrictive nature
choose what
Watson
is
is
to recognize
unconstitutional
and
to create a
best tor their chil-
a freelance writer
who
has con-
URB
and RES. He co-founded

Protozoa Pictures with Darren Aronofsky, has
Dream and n, and
produced Requiem for
was an executive producer on Saturn.
tributed to
.1
tunately, theater
owners took the unprece-
establishes a three -part test:
January/Februan
2001
THE INDEPENDENT
15
DSL,
fixed IP address through a Tl,
modem
cable
touch with writer
Tag Team
s
at
any time. However,
modems, where the
2000
AOLs
use
forward
Paul Power
by
tionize the often painfully frustrat-
ing aspect of co-writing.
Screenwriter 2000
is
an immense
improvement on Movie Magic's

Screenwriter.
Its
addi-
tional features include the ability
import stories from Dramatica
and
4.0,
to export to
Scheduling.
It
has a
Movie Magic
handy tagging
which highlights items that

various departments, such as
feature
security!
he had only two words of advice

aspiring
screenwriter:
sounds easier than
it
Finish
actually
and while typing "The End"

a
draft
first
it's
it's
is
for
That
it.
is,
any
however,
at the
end of
a tremendous achievement,
worth bearing in mind that
The
real craft of screenwriting
not in
the writing, but in the rewriting, whether

that's
an additional
draft for the producer,
another draft with your co-writer, or your
own
final "polish" draft as writer/director.
When
two
parties are involved, the prac-
ticalities are
writer
who
cumbersome and many's the
has fallen foul of faxed drafts
with penciled-in amendments or emailed
attachments with new or changed
The problems with both

are technical ones
corruption of
only way
through
calls.
to
and
straighten
lengthy
of faxes or
quite often the
things
out
is
phone
Movie Magic's new
long-distance
That's where
collaborative
of these options
illegibility
files
text.
Internet writing software,
Screenwriter 2000, seems set to revolu-
16
THE INDEPENDENT
be
of.
now
standard to most
writer
sages to be sent like Instant Messenger, the
bottom window
composition of the
for
message and the top

writers'
The
three
of script
levels
edit.
A Send Script button on the dialogue
box page now allows the

portion, to be sent.
script
resides
where
it
on the
window
It's
such a simple premise
wonder nobody thought of
it
both writers to write on the
tively permits
"live" script in real time.
Watching somebody
else's
words appear
creative
in your script
on your screen
teams to work simultaneously on the same
phenomenon.
It's
the
before:
software
enables
over the Internet.
The program,
an easy-to-install PC/Mac-
which ships
in
compatible
CD-ROM, was tested on an

OS 8.1 and 25 MB (of 64)
iMac with
RAM
available. Installation of the pro-
gram on Macs requires OS 7.1 or later, 12

MB RAM, and 15 MB of hard disk space;
PCs require Windows 95, 98, 2000, or NT,
8MB RAM, and 25 MB of hard disk space.
I tested the program with a colleague in
New York who was using her Mac at work
for the purpose.
However, her company's
scroll
but doesn't give
to edit. (And vice

when writer 2 sends their script via
Show Partner mode.) Finally, hitting
Show button in the View mode effec-
the
the
view and
to
l's script,
Enter) keys.
2,
beside the two dialogue boxes,
them the opportunity
it's
drive of writer
A second function, Show Partner, opens

a
versa,
collaborative screenwriting
relevant
transferred, the
can be read and printed.
using just the Tab and Return (or
its
script, or
Once
developed some useful shortcuts
is
interaction
between writing partners which follow

could be termed show (or send) view, and
through writer
break-
for the posting of
back-and-forth correspondence.
ed here, and Screenwriter 2000 has
real
or
a pair of dialogue
2,
allowing writer
feature, iPartner.
that
aware
it,
Instant Messenger program to
scriptwriting programs, are includ-
through
script
is
to
But Screenwriter 2000's
in reality
only the beginning.
are
phone
makes connection with

box windows
appear stacked one above the other on
each writer's screen. These allow for mes-
TV, stage, and even radio,
which
writer/director once told me that
need
even
formatting templates for
Script
camera
costume,
props,
film,
new con-
to either
it.
Once
writer
last offering,
made, have
is
writer 2 with the IP address, email
allows co-writing of scripts on-line.
to
IP address changes each time a
Screenwriter
or
to get in
those of us on dial-up
nection
Movie Magic
allows writer 2
in old
like
is
a curious
those player pianos
Western ghost towns, and takes a
of getting used
(and impatience)
my co-writer and
found
ourselves overwriting each other until

realized
how
bit
In our initial enthusiasm
to.
we
best to utilize the adjacent
dialogue boxes to indicate
who was
going
and what we
were going to write (brief or long) Often
we found that a quick back and forth obviated the necessity for a change that one or
to write next,
on what
page,
the other of us had in mind.
After each session ends, both writers
can agree
to pick
up on-line next time
the test was eventually conducted with
where they
left off,
or to continue working
another writing partner on a Mac at

home: the program requires that the
writer/owner of Screenwriter 2000 (let's
version of the script. Another plus to the
firewall
call
proved insurmountable, and so
them
writer
1)
forward their IP
address to their collaborator (writer 2).
individually before saving the
program
is
most current
that you need not have fixed
writing partners.
To get started,
is to exchange
collaborator needs
all
your
their IP
address with yours.
This
is
a really nifty piece of software,
and one that works
high-speed access. So
something that
try at
it's
and better with
faster
of
first
this
all,
MERCER STREET
Discounts for
111 ^
is
recommended you do
home. As your collaborator needs to

if you're going to do this from
MEDIA Independents
100 XS
PRO TOOLS 2 iX
SI
Non-Linear Video Ed
Sound Editing
Voice Over
input an IR
work, you
may
find a
number of hurdles
modem
dial-up
used during
in
this test
Voice Chat feature
where you can
the
real time
Sound
Pi
proved to be insufficiently powerful to

allow another function to operate,
ing
Sound Des ign
your way preventing access. Moreover, the
56K
503-11
talk in
Effects
O riginal Music
BroadwayRm.
NYC
5*9,
212.966.6-79-4
with your collaborator for the
The manufacturer's
recommended connection is a high-speed
one such as an ISDN, DSL, or cable
modem. Additionally, Voice Chat is not a
price of a local call.
cross-platform
[i]tvs
only
operating
feature,
between two Macs or two PCs and
will
not
work between a PC and a Mac.

Other noteworthy features of Screenwriter 2000 include self-reformatting
index cards and a Text to Speech function,
which
attributes
voices
actors'
to
hear a read-through without the expense

of a casting
Smart Check (dubbed "a
call.
corrects formatting
virtual proofreader")
Note Commander
errors prior to printing,
has the same effect as placing yellow stickies
on your
script, flagging points for revi-
sion or discussion, and Scene Pilot allows
you
through an overview of your
to scroll
San Francisco, CA
your
to
you the opportunity
characters, giving
Executive Director
Independent Television Service (ITVS)
ITVS seeks an experienced, visionary executive
Finally,
one quibble.
who
those people
likes
If
you're one of
the
way Word 98
underscores misspellings in red, you'll love

the same facility in Screenwriter 2000.
found
a distraction during writing
it
sudden appearance of
is
mark
a red
the
in a line
an unwelcome interruption to a flow of
thought, and
preferred instead to have
the function switched
on only
at final draft
stage.
The Movie Magic
Screenwriter 2000
program, which comes on a Mac/PC-com-
CD-ROM,
patible
$9.95
S&H
from an
as are
($50
retails
int'l
earlier version
for
$269, plus
S&H). An upgrade
is
available for $89,
ners, Corporation for Public Broadcasting, the Public Broadcasting Service,
and other constituent organizations and
individuals. Qualifications include:
minimum 10 years experience in organizational management including program development and/or production administration; strong track record in
advocacy and non-profit management; entrepreneurial approach to new initiatives; proven ability in staff supervision, financial management, fundraising,
development and
strategic planning; B.A.
or equivalent experience.
(advanced degree preferred)
Excellent communication
skills
are required.
In addition to a solid commitment to the ITVS mission, ideal candidates will

demonstrate significant involvement with and support for the independent
media field; understanding of public television organizations, programming
policies and governance; commitment to diversity; understanding of the
needs of under-served audiences; and knowledge of emerging media tech-
nologies.
ITVS was established by Congress to fund and present independently produced programming on public television. Its mission is to support productions
that involve creative risks, advance issues and represent points of view not
usually seen on public or commercial television, and that address the needs
of underserved audiences, particularly minorities and children. ITVS supports
producers by affording them artistic control and championing their programs
to public television and its audiences. Since its inception in 1991. ITVS has
funded more than 300 programs for public television distribution.
compatible upgrade programs from
competitors, such as Hollywood Screenwriter (available for
PC
only), Final Draft,
Scriptware, etc. at $134.95 each. Contact:
(800)
dynamic organization
Must effectively
lead staff of 25 and work with the ITVS national board, organizational part-
policy
scenes, listed in summary, index card form.
to lead
bringing independently produced work to public television.
84-STORY
or
visit
www.screen-
Competitive executive salary.
complete description
ITVS
is
an Equal Opportunity Employer.
of responsibilities
and
guidelines are available at www.itvs.o rg.
qualifications
and application
Applications accepted through
February 15, 2001.
play.com
Paul Power
of
is
managing
editor
The Independent
January/Februan
1001
THE INDEPENDENT
17
C* iiS^J
CXRCVIT
'/-''.
and disruptive audiences were
a nagging
problem, or alternately, a heartening indication that the avant garde hadn't entirely
lost its capacity to epater la bourgeoisie.
"
en garde
Views from
the
Dwindling audiences and an apparent
Avant Garde"
at the
New
lack of critical interest led to an under-
York Film
Festival.
standable attenuation of institutional support.
by
when
Events came to a head in 1996,
the festival committee simply neglected to
Brian Frye
include an Avant-Garde Visions program.
Although Gavin Smith programmed
Not
so very long ago, a
New
in
cult to
letter,
York.
make
It
Klahr's Altair
especially
was
among them)
diffi-
for Living
Cinema
the
eighties,
late
tively
folded in
stepped in with a proposal to restore some
venues
version of Avant-Garde Visions, and the
Anthology
Film
Archives and Millennium
Film Workshop looked on
of doing
verge
Film
York
celled
Peter Hutton's fascination with landscapes and waterways

latest film,
Time and
had given
have
last several years
largely
dispelled that erstwhile pessimism.
film at the
Museum
of
films since
debut in 1963, the real pre-
its
decessor to Views from the Avant-Garde
Major
of avant-garde
Modern Art and
gram
in
sisting of three or four
ed with an explosion of small-scale, DIY
ular
festival
venues showing new films by younger
committee,
others,
have coincidfilm-
makers, with both finding surprisingly
and dedicated audiences. In Nov-
New
age of tickets provided
risk of forfeiting its
perspective
it's
as
the avant-
looking rather
less
peak-
to subscribers.
among
the catalysts of this
unexpected revival is the Views from the

Avant-Garde showcase at the New York
on
new
films
to
gardists like
destination for aficionados of avant-
garde
film.
While the
18
NYFF has shown avant-garde
THE INDEPENDENT
still)
program that
and
Tide and
second time
~' <.**' !..-.:
the
and
Brakhage and Warren Sonbert
festival- circuit
directors
working in the same idiom

important films
visit
curated by Gavin Smith, then (and
accommodate the overflow audience.
by both avowed avant-
Smith and Mark McElhatten, which has

York's status as the must-
as pro-
the selection committee proper, but was
avant garde, showcas-
Sokhurov, as well
New
by
selling out, but even running a
It offer-
Film Festival (NYFF), curated by Gavin
reasserted
more
more suitable context. More significantly, it no longer bore the stamp of
ed a broadly polyglot
ing
than awhile back.
Indisputably
Reade
Nathaniel Dorsky's Arbor Vitae not only
ish
format: four
Walter
films in a
included Peter Hutton's Time
gram appeared at Alice

Tully Hall and was
Channel even ran programs of Stan

Brakhage and company on cable TV.
Although New York never actually ran the
heavyweight,
new
the
in
to a full house, with the
pro-
included in the pack-
title
held
This year most of the programs played
selection
the
York-based Sundance
the
also acquired a
Con-
1988.
chosen by the reg-
among
had
of the
director
NYFF
started
when he took over
Richard Pena
films
the Whitney,
it
programs
Tide.
was Avant-Garde Visions,
up the ghost.
large
in his
Hall, allowing for the inclusion of
could almost forgive even partisans for
ember,
apparent
One
retrospectives
new
Theater, rather than one in Alice Tully
believing that the avant-garde
historical
is
Avant-Garde
But the
its
Garde. At Smith's suggestion, in the inter-
im
can-
program.
reappeared in
it
incarnation as Views from the Avant-
New
Festival
its
Visions
following year
the
same, and even the
He responded very posiwhen Smith and McElhatten
hardly waned.
like
the
and Robert Beavers's Amor

its absence was duly noted.
Pena's support for the avant garde had
the Collective
after
According to Smith, however, Richard
a convincing
case to the contrary, especially
have previously been
included in Avant-Garde Visions (Lewis
avant-garde film something

of a dead
sev-
experimental shorts preceding the
features that might
people considered
of
lot
eral
Creatures. For
like
arguably
Aleksandr
as revivals of historically
Jack Smith's Flaming
like
many
festival goers,
Avant-
Garde Visions was
avant-garde
not necessarily a wel-
come
film, if
first
introduction to
one. According to reports, walkouts
curator of the
New
York Video Festival
who had programmed
the festival shorts
the previous year, and
Mark McElhatten,
an independent film curator previously

unaffiliated
with the
Film Society of
Lincoln Center, a fact which changed

entire character. For the
first
time,
its
the
avant garde had acquired something of a

mandate and the means by which it might
be credibly realized.
c
For
for
couple of years, audiences
its first
Views of the Avant- Garde were
spotty,
making him
Times,
new
star of the
seemingly unlikely
avant garde. Arbor
'The best regional festival
Vitae,
I
but they have grown steadily. This year
most of the programs played
to
a full
house, with the program that included
Time
Hutton's
Peter
and
and
Tide
Nathaniel Dorsky's Arbor Vitae not only
the third film in a trilogy that includes
and
Triste
Variations,
emerge with new
but even running a second
Arbor
Vitae,
Life,"
is
ence.
was Dorsky's second packed house
It
at the
Walter Reade in a year (another
showed last February),

a phenomenal response which I found
heartening. Incidentally, it's no fluke that
the Dorsky/Hutton show was so popular, as
it was easily the strongest program in the
series. In addition, it was a particularly
good example of Smith and McElhatten's
perceptive programming, as the two films,
program of his
films
and
have ever attended."

Eugene Hernandez
Editor-in-Chief. indieWire
refinement of themes that in retrospect
time to accommodate the overflow audi-
selling out,
one of Dorsky's
is
greatest films to date, a distillation
which
tenth annual
and consistency.
Tm
translates as "Tree of
the visual equivalent to a
the Gnostic
like
clarity
"Hymn
poem
of the Pearl,"
revealing the extra-mundane spark that

inhabits the living.
Through some
film festival
mysteri-
ous legerdemain, he transforms the quo-
and garden into
tidian contents of the city
pregnant
metaphysical
His
symbols.
images are juxtaposed so rightly that one

almost hesitates to
the process editing.
call
As Brakhage plumbed
Jf>*
The Southeast's Premier

Independent Film Event
the
chasm between
perception and the Real, Dorsky searches

for the traces of the Ideal in the material
world.
If
Hutton captures the flow of time,
June 8-17 2001
epitomized in the inexorability of mortali-
Dorsky causes
ty,
to catch
it
enough
Two
to
make
it
its
"now"
holding that elusive
breath,
just
long
<f 6
real.
of this year's films borrowed ele-
ments from ethnographic
film to interest-
Sharon Lockhart's Teatro

Amazonas documents an audience's reacing
effect.
Sharon Lockhart's Teatro Amazonas-. A mesmeric and
the offscreen performance of a
tion to
trying experiment at once.
minimalist
individually
complemented one
superb,
another perfectly. Hutton's Time
vocal
composition.
eponymously
Brazil's
titled
Set
in
opera house,
arid Tide,
the film consists entirely of a single 30-
deeply rooted in the phenomenal world of
minute take of the audience, shot from the
water, sky, earth,
and time, was
balanced against Dorsky's Arbor

intensely
metaphysical
carefully
Vitae,
meditation
list
on
bers,
Being.
Shot
stage, followed
an
by a rather interminable
of "cast" and crew.
drawn from the
The audience memlocal neighborhoods,
from a barge
as
was guid-
it
New
York
one another, and

Teatro
Amazonas
Shot on 35mm,
sleep.
rather sumptuous
is
City to Albany and back, Time and Tide
production by the standards of the avant
continues Hutton's long-standing fascina-
garde. However, while the film
and the waterways
tion with landscape

that traverse
series of
it.
stills,
Constructed almost
like a
each shot separated from
its
fellows by a short stretch of black leader,
jITime and Tide
moves
at a peculiarly delib-
cuit
Artforum awhile back
it
appeared
felt
(or
perhaps a
ment...),
8the ceaseless flow of the
Images of
whelming. For
and
lost
found
35mm
Monty Python
it
seg-
somewhat under-
the picture was puz-
gmisty, pastoral scenes, the relentless pro-
non-standard 3-perf format she used), ren-
gression of one into another suggesting the
dering the faces of the audience
that
accompanies
gthe passage of time.
filmmaker for over 30 years, Dorsky's
Enered rave reviews from the
hazy (possibly a function of the
basically illegible.
members
was, however, quite
taken with the almost-Brownian motion of
âusterely beautiful films have recently gar-
New
York
march 23
rather like a
zlingly
dissolution
late deadline
in
^decrepit and deteriorating industry yield to
înevitable
february 23
cir-
footnote to a Michael Snow's Wavelength
reflecting
river.
feature
full-page
early deadline
cemented
Lockhart's reputation in the gallery
erate pace, bordering on languor,
call for
alternately shift in their seats, whisper to

largely
ed up the Hudson River from
orlando, I lorida
their
movements: an oddly graceful
tive
dance, spreading across the sea of
bodies and subsiding.
EhIm Theater
1300 S. OrlaaBe ftveaae
Haitian. Fiarlla 32751
collec-
Dhone 1407) 620-1081

www.aiilai.arB
lax (407) 828-6070
[email protected]
THE INDEPENDENT
19
CALL FOR ENTRIES

6TH
ANNUAL STONY BROOK

July
Staller
FILM FESTIVAL
18-28,2001
Center for the Arts
NY
State University at Stony Brook, Long Island,

Competitions
16mm and 35mm
in
including features, shorts,
documentary
and animation.
Largest venue
and
in
film
Over
screen
(1
,000+
the region (40
2,000 attendees
For more information,
films
at the
ft.
2000
call
631-632-7233
or email [email protected]
Entry forms are available online at
seats)
wide)!
stallercenter.com/festival
Festival!
or write
to:
Stony Brook Film Festival
2000 Stony Brook

Filmaker Reception
-
Left to right:
Film Festival
-
July 22,
Village Voice Critic,
Film Critic, John Anderson;
Movie"
Center for the Arts
SUNY Stony Brook

NY 794-5425
Stony Brook,
Michael Atkinson; Newsday Chief
"Steal This
Staller
rm 2032,
2000
Entry Deadline: April
director,
1,
2001
Robert Greenwald;
Festival Director,
"...In
Alan
the movie-crazed town of Stony Brook
revolutionary
It's
Inkles.
tack:
qroundbreakinq.
something
It's
for
cuttinq-edqe.
o
on the campus of the State University of
everybody.
It's
nostalqic.
a
Studio
Blockbusters.
Independents.
New
Short
-
York, they're taking a

films,
it's
visionary.
L
a j
m j
John Anderson, Newsday
,
(i
Far richer and more
Mark
compelling was
New
Burma, and
s yui
York, The Glass
and
times
ple
in the public space of the street.
of very long, static takes of peo-
engaged in their everyday
man
tasks,
sharpening knives to young
act,
it
While
girls fold-
both humanize their
in public, they
ty
and announce
the
title
their trade.
to the often neglected role of the curator
work
in shaping the reception of films via their
activi-
context
understood
department
in a
Michael
No
an explanatory legend; here
it
need
is,
before
more
rather
title is
balance
to
Calcutta
teeming with parasites and
is
LaPore,
water
the
between
achieved thereby
prosaic.
According
is
System an
Glass
in
and
rawness
polish
enough to ingest even the

While dining at a Calcutta
least bit of
and
ordered
brother-in-law
his
avant-garde
film
the gradually raised and lowered lights that
prevent
distinguished by
less
idiosyncratic
waiter served their drinks in freshlycertainly
United
Views from the Avant-Garde
two
Limcas, the Indian equivalent to 7-Up.
glasses,
the
in
its
lineup.
breadth of selections, which
two, LaPore
pondering
this request,
the glass system."
was surprised
to catch
Cornell's films in
cially CotiH/on
trappings
of
The Glass System, espe-
eerily
Party.
their credit,
even made
The
and
8mm
fragile
plodding methodically up
girl
performing a
circus
exploits
film),
takes
programs,
is,
to
my
has prompted some criticism,
it
especially as
it
tends to emphasize the
interests of the curators. Unlike their pre-
Smith and McElhatten do not

draw exclusively from formal festival subdecessors,
but actively
missions,
artists,
which can
all
solicit
films
from
too easily lead to
proof, however,
is
in the pudding,
in evidence,
programming
mised. Asked to
autobiographical
art of film
in
is
don't believe that
any way compro-
comment on
to imperfection
bears notice
is
it
From the
among festival
that Views
peculiar
emphasizes entire pro-
festival
films.
In gen-
programmers choose short
and cobble them togeth-
programs of appropriate length. In
the best of circumstances,
more or
approach
less
serviceable;
travesty.
In
the result
often
marked
it
on
the elusive
programming, which
ments, McElhatten replied,
er into
much
an unidentified East Village teen.
films individually
The
their
club mix, part of which Sogo attributed to
eral,
dropping out to
absolutely necessary.
of
grams rather than individual
than Cornell
black and returning, and apparently cut-
when
this attention to detail
heavily
programs in that
an oddly similar fash-
ion, the picture abruptly
ting only
While
mind, essential to the credibility of the
images set to the cacophonous roar of a
It
30 or so shots in this 25
he draws relationships
in
collage
Avant-Garde
of
Cornell's films. Furthermore, while LaPore
minute
the Quays' In Absentia.
The
filmmaking with Slow Death, a psy-
chedelic
and back on the rope, further recalled the
between images
Slow Death
gray-scale of
very
young
longer
muted
accusations of partiality.
show-
Stom Sogo represented
space. This year,
LaPore's
tightrope act,
much
overlapping branch-like forms recalled the
presenting small gauge film in such a large
in
disconcerting spectacle of an
(there are only
get-
as mythologized by
reflected
astonishingly
uses
to
from
and while the curators' fingerprints are
child mannequins, posed in a store win-
terrifying
commitment
film
ing super 8 film, despite the difficulty of
shyly self-conscious children
cheerily
Smith and McElhatten have
a special
little
rawly material images of
bourgeois
mid- 1930s
American childhood,
are
echoes of Joseph
and The Midnight
year
this
tors like Jean-Luc Godard and Guy

Maddin through important avant-gardists
like Michael Snow to newcomers like
Mary Beth Reed and Robert Abate. To
the
"we use
waiter replied that he could not, as
ranged from shorts by well-known direc-
asked the waiter to bring two more, in the

bottle. After
scattered
have been impressed by the
ple of years
first
its
while anticipating the
unpredictable and
Despite
would
pay for the
wonderful
this
rapid-fire superimpositions of
nonethe-
is
with the local fauna. Explaining that they

still
States,
protests to the contrary, over the last cou-
contaminated
to
only did
separated each film from the rest help to
Arguably the highest profile venue for
it.
enough
Not
resist positive identification.
ting lost, but
The
The
graphically
its
The
Cornellian jewel-like perfection.
restaurant, he
out of
virtue
of quintessential^
exquisite, lending
air
quickly sickens those Westerners careless
dow.
makes
Twig.
premiering
slipping past the frame just fast
nance of the
Cornell,
York,
now
austere black-and-white forms hold and
From Mark LaPore's The Glass System.
Apparently, however, the actual prove-
only
film,
extremely limited means,
your eyes.
washed
New
in
for
two-minute
Mideke's
Mideke's 1967
goods are
store, the
themselves.
sell
immediately apparent, as in the
is
case of one of this year's briefest films,
in question: like a picture -win-
expected to
haven't always been entirely
convinced by their choices, their attention
to refer to the transparency of the
exchange
dow
their
more
or
eight
combinations before
various
in
grams.
illuminates the practical immediacy
As people perform
uncommon
deciding on the constitution of the pro-
from a
ing pamphlets to a child's rough tightrope
of exchange.
According to McElhatten, they
grams.
often watch submissions
Composed
care into the construction of coherent pro-
System documents the intersection of work

life
i.
Smith and McElhatten put
LaPore's The Glass System. Shot in
India,
'-s
its
relies
so
not-always-cooperative ele-
"I am wedded
and imperfect arts, but I
would never want the films to surrender
and become more malleable

grams. Rather,
teristic
to
my
pro-
attempt to find uncharac-
ways of looking
at or putting films
in relief that [they] themselves substanti-
ate
and suggest." A curator could hardly

more humble or demanding
ask lor a
is
can
Brian
Inv
is
contrast,
a filmmaker, curator,
January/February 2001 T H E
and
blew York
City.
INDEPENDENT
21
freelance, writer living
ED
c
is
fife
Emile de Antonio:
to de Antonio's preferred style, the editors'
for Defiance
The
Brian Frye
SAW
NTIL HE
his
FBI
for
the
But
plant."
wanted
think
to
men
comprehend
non
sequitur in the 300-page
man who
later
One
political
for
on
of
film-
uncover-
documents
Not one to pull any punches, de

Antonio was one of those singular people
who can draw blood while interviewing
themselves. Notoriously self-aggrandizing
of
and
an
inveterate
tale-spinner,
de
of de Antonio's favorite anecdotes,
films are generally hilarious, often at his
gem
states succinctly his rela-
government he loved
to
of the
hate.
The
full-length
first
Antonio's
films,
Daniel G.
Antonio:
on
de
Douglas Kellner and

superb
Streihle's
hook
Reader
is
Emile
de
long-overdue
New American
Gadfly
Cinema.
and iconoclast, self-
and bon vivant, de Antonio

was equally interested
Ho
Warhol and
independent filmmakers. Probably best
kind of Marxist
known
Justice
today for his seminal
first
film,
a damning indictment of
McCarthy created entirely from the
Point of Order!
188 hours of kinescope footage of the
Army-McCarthy
quixotic de
hearings,
the
Antonio was one of the deans
Not one to pull any punches, de
described "half-baked" radical
appreciation of one of America's greatest
suit of
in
Antonio was one of those singular
Andy
people
Chi Minh, the
who
who can draw blood
interviewing themselves.
which he considered
his
patriotic duty.
Prefaced
by
the
editors'
somewhat dry but exceedingly

informed summary of de Antonio's
Emile de
first
and best-
known
wellcareer,
in
a quart
lapse in a gibbering stupor.
is its
fantastic
collec-
of
inter-
tion
views,
well-
indictment of
porary
film
Senator Joe
reviews by both
boosters
and
and short essays
While the editors' take on de Antonio's

and ideas is, I suspect, rather more
orthodox than he would have preferred,
they thankfully refrain from the pompous
rhetoric that blights most recent academic
film writing and basically let the reviews
and interviews speak for themselves. It's to
films
their advantage, as
it
showcases their obvi-
by de Antonio and his col-
ously exhaustive research (their bibliogra-
laborators.
phy
Perhaps an oblique homage
is
phenomenal) and astute
Brian Frye
is
selections.
a filmmaker, curator, and freelance

writer living in
made with
which he drinks
of the book
selected contem-
detractors,
witness Drunk,
of scotch in 20 minutes, proceeding to col-
Order!, an
McCarthy.
own expense:
Andy Warhol,
the raison d'etre
film,
Point of
THE INDEPENDENT
while
believes in
and the Truth, the pur-
Antonio's
22
reality
his insistence
Antonio's accounts of the making of his
tionship to the
1954
the
list.
this little
Joe
can provide.
film-
maker on Dick Nixon's "enemies"
(which
In the Year of the Pig)
ing the truth that only primary
in
file
became the only
and Minds
makers taking responsibility
trenchcoats dutifully recorded this ludicrous
own
Vietnam, underlines
in
he an egg-
Edgar Hoover's
J.
A particularly blistering pan of
de Antonio's
his
youth
when,
asked
do when he grew
I'd like to
his case for a gen-
cinema in scathingly
vicious attacks on the puerility of
Hollywood filmmaking and its quisling libpolitical
berating Davis's callowness and inability to
an
lection of
De Antonio makes
uinely
incidentally lifted several sequences from
recol-
incident
"I
White Comedy
Peter Davis's Hearts
Antonio
had no
really
Nixon anti-hagiography
his
eral pieties.
file
first
Emile
time,
up, replied,
suits
caustic wit of
is a Horatio
Alger story cast as Groucho Marxist
sendup is plenty evident in his sparring
tor.
what he
perfectly.
interviews and sarcastic letters to the edi-
by
de
films
his
Minnesota Press, 2000),
Streible, eds. (Univ. of
and interviews
de Antonio
Millhouse:
A Reader
Douglas Kellner and Daniel G.

$24.95 paper; 392 pgs.
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Mediamakers who have been using
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The standard
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help producers
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Video compositing
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This
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THE INDEPENDENT
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While many high-budget pro-
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Several smaller companies produce plugins that
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For example,
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its
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Cut Pro owners
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place to start before deciding to purchase a
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new program.
motion
can receive
For
ability to use your computer to paint

on video frames opens up new possibilities
captured
scoping"
camera.
your
by
"Roto-
The compositing workspace
in
for free.
larger
format
(HD,
Many
realistic ani-
of these programs do
much
a shot
where
Pro,
which allows any
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up
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Imax
and
includes
tools
and
with
hearing aid needed to
girl's
film),
Commotion
is
film
extra
Combustion.
the process of using live -action
is
video as a guide to painting
mation.
real-
Com-
DV
there
The
a limited
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Animation and Rotoscoping
ity
or
(DV,
consider
work in the way a dedicated

compositor's would be, but it is a good
adding animations or altering the
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format
Commotion
interface isn't optimized for
this type of
for
size to
you are
Betacam, 3/4") you
today without having to spend several
hundred
video. If
smaller
compositing
start
your work's
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working with a
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you can
its
be separated from her head while she ran

the edges of
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premium
for the
As
plug-ins.
After
Effects,
more advanced
version.
my
matte
more than paint, however. As an example,

Combustion has as many paint tools as it
does compositing and is a fine high- end
in place.
every 10 frames and then
com)
platform for rotoscoping.
ments needed
made any adjustbetween. The result was
makers of the popular editing program
Commotion (Mac
or
visible.
had only the hearing aid

recently added a com-
version
DV
EditDV and has a lot in common with

Commotion. It offers similar painting tools
and utilizes the same RAM-caching tech-
set
around the hearing aid with keyframes

in
a video clip that
$1,995;
Windows NT, pro

version
www.puffindesigns.com)
two things extremely
is
$795;
a tool that does
well:
painting and
advanced matte creation. Commotion was

originally created
Visual
Effects
by Scott Squires, head of
at
Industrial
and
Light
Magic, and was being used on feature pro-
was ever released
to the
ductions before
it
public. Squires
formed Puffin Designs
Commotion
sell
after realizing that
it
to
could
way people create video

on the desktop. In at least one
Commotion
positing system similar to AE's.
Commotion's painting
tools are similar
found in Adobe Photoshop.
to the ones
The program
dard colors,
allows painting with stana
clone brush that copies
other parts of your frame, or

that
let
you use textures
paint or laser blasts.
The
"FX Brushes"
as diverse as oil
clone brush could
be used to cover up unwanted elements in

a frame
like
mic cable or lens
flare.
RotoDV
is
(Mac, $399, www.digitalorigin.

relative
clips.
nials
on
web
its
since
it
was
that
it is
uses a technique
painted out over the duration of your
some modest
that allows your
video or recorded in whole over every
tion,
without an expensive
RAID
hard-drive
Most of the programs in this article

now implement this, but Commotion
system.
deserves credit for being the
first
to bring
it
to personal computers.
matte
is
frame. Using the
write out a word, then have
someone
is
writing
video clip that
it
tures, called
Commotion. One of
"Cartoon
Fill,"
allows
its
what
allows you keep your
because
it
excels at matte rotoscoping
allows you define the edges of
your matte at frames you choose and then

it
interpolates the
two frames.
movement between the

method on
recently used this
effects, or
RotoDV can
at
rotoscope anima-
accomplish
all
these
price
to
integral part of the compositing process
Commotion
tasks
If all
touch up your video, add
fea-
you
because they allow images and video
one composition.
than any other animation programs.

is
is
cheaper
Traditional cell-based animators should
take a series of inked drawings and define
to be placed together in
RotoDV
it's
defines transparent areas. Mattes are an
clips
to
dollars
look like
over your clip as
it
effects
playing.
also consider
a part of a
method, you could
first
hundred
several
it
to playback video in real-time
from major
released about a year ago.
first
way
computer
site
The one major advantage
you want to do
Commotion
"Ram Caching"
any
houses, and hasn't had a major upgrade
record your paint strokes so they can be
did.
in
well-known movies, doesn't have testimo-
Commotion
called
has an unimpres-
been used
hasn't
it
film
to
RotoDV
However,
sive history
and
way
the
nique for real-time playback of your video
revolutionize the
includes an intuitive
newcomer from
colors to paint each area with. This
but cuts
down on
work hand- drawn,
the time and
money
spent on painting by hand.

Like After Effects,
two versions
sive.
The
tion DV,
Commotion comes
expensive
less
and
less
expensive version,
comes with
all
in
expen-
Commo-
the features dis-
Res
RotoDV: One of the cheapest
26
THE INDEPENDENT
and most basic animation program.
lower than any of the other applications in

this article.
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Commotion DV, RotoDV
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janu.uv Ivbru.MA
2001
THE INDEPENDENT
27
camera SAG-covered performers must be

paid $540 per eight-hour day and $1,876
per 40-hour week. There
Guilding Bridges
There
rate of $1,367.
a provision for
is
who
"three-day performers"
are paid at a
an exception
is
for
who must be paid

maximum of three voic-
voiceover performers,
How
the guilds interact with interactive producers.
$540 per day
for a
day and an additional
es per four-hour
Robert
by
L.
Seigel
charge of $180 for each additional voice.
Under
If
you're a producer making interac-
multimedia projects, you may
or
tive
decide to hire union actors, writers, or

directors.
when
it
yourself
find
you'll
so,
If
familiar turf
comes
on
to negotiating
with the professional guilds. All are trying
new media, and
to stay up-to-date with
each has developed agreements

ly for interactive
specifical-
and multimedia
projects.
But whether making an esoteric web
CD-ROM,
commercial videogame, or a
you
site,
be seeing language that echoes
will
with
agreements
existing
Screen
the
Other types of work that does not fall

under the IMA include those which contain solely "concert-like" footage, use only
still
or are tape productions in which

more than one -half consists of material
produced under an American Federation of
Television and Radio Artists (AFTRA)
agreement
or
America (WGA),
of
America (DGA).
SAG's
Media
Interactive
Agreement
SAG
(www.sag.org) has developed some-
thing
the
called
Interactive
Media
Agreement (IMA). This covers audiovisual projects
the Internet that use
The IMA concerns

which
CD-ROM or
SAG performers.
produced
for
interactive projects in
producer engages such
SAG- cov-
ered performers in the U.S. (even
if
pro-
duced outside the U.S, its commonwealths, and possessions). However, not
all
CD-ROM
ject to the
ly
or Internet projects are sub-
IMA.
produced
as
Projects that were initial-
commercials,
theatrical
television programs, or industrials
films,
and have subsequently been placed on
CD-ROM or the Internet

other SAG agreements.
The IMA
deals
most
in
to
are subject to
specifically
projects that were designed
first
with the
and
fore-
have an element of "interactivity,"
which
a viewer
can "manipulate,
alter,
or affect the presentation of the creative
content" while the viewer
media
project.
is
using the
Non-interactive media
projects are generally considered "linear"
and do not involve any degree of

viewer activity beyond watching the project, even if it is on a computer screen.
in nature
28
THE INDEPENDENT
formers;
in
is a provision in which
SAG-covered performers must be given
employment preference if the project is
produced in or near most major U.S. cities.
agreements, there
IMA
signatory producers currently do
not have to pay residuals to the
Several core provisions of the
shows,
type
decides
DGA
or
Basic Agreement are
in
the Internet
Agreement: on creative
producer
can contact
SAG
and become a
sig-
natory
the
of
IMA
by signing
an
Adherence
This
Letter.
ject
SAG
IMAs
&
and
shall
comply
terms, contribute to the
Health Fund, and sign a
Check Authorization. Producers
who
on behalf of the proThis "paperwork" is a more stream-
authorized to sign
lined version of the
documentation that
requires for a feature film or televi-
sion program.
An IMA signatory producer

that all SAG performers are
must ensure
members in good standing and that
formers
who
are not covered by
accepted by
SAG
completion
of a
SAG
per-
are
through a waiver or a
"Taft-Hartley"
form,
which causes non-SAG covered performers to
be
the
pro-
SAG
eligible to join
SAG.
per-
former his or her
of
Corporate Resolution acknowledging
SAG
vice
versa,
rate (up to
must complete an information sheet

describing the project in detail and a
ducer.
CD-
or
the
staffing requirements.
also
is
on
ROM
ducer must pay
grievances and arbitration, credits,
ac-
Pension
Credit
rights,
pension and health contributions,
knowledges that the producer

with the
place
to
an Internet pro-
talk shows.
producer
if
shows, quiz panel-
SAG per-
formers; however,
game
news,
Actors Guild (SAG), the Writers Guild of
and the Directors Guild
photographs (with or without narra-
tion),
IMA mediamakers cannot

SAG and non-SAG perfact, similar to most SAG
the
"mix and match"
other use of such projects which
IMA
addressed by the
150%
Any
scale).
is
not
must be separately
SAG.
negotiated with
Given the limited revenues for most

Internet projects, it would be advisable for
SAG
to revise
its
IMA
in a
manner
that
addresses low-budget interactive projects.
This could be done by adopting a variation

of
its
currently existing agreements
tai-
lored to low-budget productions, such as
those for experimental, limited exhibition,
and low-budget
The WGA's
projects.
Internet
Agreement
New media producers who hire members

of the
WGA
projects
WGA
(www.wga.org) for Internet
can become signatories to the

Internet Agreement.
agreement,
initial
Under
compensation
for
this
WGA
Although these terms seem reasonable

most film and television producers, the
IMAs basic minimum payments may prove
members is negotiable between the producer and the writer; however, the producer
must pay the appropriate Pension &
problematic for those independents creat-
Health
to
ing what
are
often labor-intensive
undercapitalized
projects.
Like
Agreement, the
and
Internet or interactive
SAG's Basic Television
IMA
requires
that on-
contributions
to
the
WGA.
Producers also must provide wTitten financial reports
regarding any Internet revenue
to both the
These
WGA
and
WGA
member.
financial reports include any rev-
enues derived from the exploitation of the

project
Avid Editing
on the Internet by the producer or
producer's
the
pro-
distributor/Internet
ProTools
including fees charged to Internet
vider,
numweb site
users, advertising revenues, and the
ber of "hits" for the project or the

incorporating
Under
American Montage,
Sound Mixing
Inc.
it.
WGA
the
Agree-
Interactive
ment, a signatory producer
is
permitted to
use literary material written under the
agreement
for a period of
up
to 18
months.
Edit in beautiful, spacious,

windowed suites with our
knowledgeable, creative and
friendly editors or yours.
After that, the producer must comply with
any Internet provision included in any

subsequently
Agreement.
Minimum
revised
If there
would have
provision, the parties

tiate a residual
payment
of the material.
If
Basic
no new Internet
is
for additional use
the material written
under the agreement
is
Digital /
to nego-
not used by a pro-
Film,
Video &
Analog
Web Production
AVID AVR77 & OFFLINE
Post-Production Specialists
3D-DVE PINNACLE BOARD

GIGS HARD DRIVE SPACE
After Effects / Motion Graphics
101
ducer within two years from the signing of

the agreement, then the rights to that
material revert to the writer.
The
WGA
Agreement only
Interactive
addresses the use of the literary material in

Internet projects.
WGA writers retain the
produce the material in other
to
right
media (other than TV, since the
WGA
DAILIES
Experienced in Feature Length

Documentaries and Narratives
375
WEST B'WAY 3R,
3 3
NY,
SYNCHING
DIGITIZE DIRECTLY
NY 10012
FROM DV
AVID CLASSES
4-8283
SOUND EDIT/MIX/DESIGN
www.americanmontage .com
WE ACCEPT ALL MAJOR CREDIT CARDS
MIX TO PICTURE
regards the Internet as a form of television-
and includes provisions in

contract
interactive
its
compensation
about
TV
for
Producers can acquire other non-
sales).
interactive rights to the material by negoti-
ating with the writer
no
less
than the
and paying the writer
minimum
rates
More and more mediamakers
such
realize that a
less
than the mini-
rate, as if the writer
has written the
material initially for television.
"traditional"
television,
media
is
V fa<
feature films
independent producers
commercials
HD 24P Camera Package

HD Uncompressed Non-Linear
HD 2D/3D Motion Graphics
Shoot
Editing
HD-SD Up & Down Conversions

Same good services in NTSC & PAL
24fps
Creative Talent
Prograssive
High Definition Video
WGA writ-
SonyfEEEI
ers also are entitled to receive residuals if
the interactive project
to
documentaries
WGA writer would then be

no
dedicated
corporate Video
this
HD house
HDTV based
e
High Definition Video Production Services
path should
entitled to receive
mum
"off-
as a television pilot or
Producers taking
first
Produce
are using
be used in more conventional
series.
IL/
The
the Internet to develop projects that could
line" media,
one productions
now an Ljr\T\/
is
under the
WGA Minimum Basic Agreement.

later
all in
a true alternative
released in such
as free television,
to film
pay
Protect your investment
24P -
and home video.
Post
Universal Mastering Format
Uncompressed
The DGA's
The
DGA
Internet
Agreement
online/offline
(www.dga.org) has also devel-
oped an Internet Agreement. Similar
to
DGA's Low-Budget Agreement for

films, the DGA's Internet Agreement per-
CINE^LL
non-linear editing
-s
motion graphics
the
mits
producer and
DGA
director
in
HD
is
more affordable than you
think
compositing
to
negotiate several key points concerning a

director's participation in
Producing
&
877-479-HDTVI4388) www.allinone-usa.com
Los Angeles New York San Francisco Hong Kong
EXCELLENCE
IN
SD
PIONEER
IN
HD
an Internet pro-
Januan February
2001
THE INDEPENDENT
29
D
These
ject.
include
the
IMA's basic
com-
initial
pensation to
the
problematic for
director.
independents creating
Several core
labor-intensive and
provisions of
WWW.ANGRYFILMMAKER.COM
undercapitalized
DGA
the
Internet or interactive
Basic Agree-
ment
minimum
payments may prove
projects.
are in-
cluded in the
Internet Agreement; these address such
issues
creative
as
pension and
rights,
health contributions, grievances and arbi-
and
tration, credits,
LEARN FILM
means
also
roTTTx*Tora
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staffing requirements.
DGA signatory producers must realize that

engaging the services of a DGA director
they'll
be required to hire other
DGA-represented members, such

tant directors
als
A producer does not have to pay residuunder the DGA Internet Agreement
for the use of
an audiovisual project
produced
ically
if
as assis-
and production managers.
for free websites.
specif-
However,
project that was initially designed for the
web should be adapted

such
kets
home
to "off-line" mar-
theatrical,
as
memo
DGA
the producer and the
and
television,
video, then a deal
between
director
is
would contain provisions

compensation for "off-line"
required. This
residual
for
which comply with the terms of the

Basic Agreement. Similarly, DGA
uses
DGA
directors shall be entitled to receive residuals for projects that appear
web
generating
be negotiated by the
on revenue-
the amounts would
sites;
DGA
and producer
prior to
any licensing of an Internet project
beyond
its
the
free
DGA
The
web
site use.
Agreement
Internet
like
WGA's
version of the Internet Agree-
has
a provision that requires pro-
ment
ducers to provide reports indicating
all
revenues (including advertising) derived
"Learned a great deal about telling an effective, visual

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licensee,
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Internet provider.
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"ACTION/CUT IS PARTICULARLY SUCCESSFUL IN DEMYSTIFYING
THE TASKS OF A DIRECTOR AND EMPOWERING PARTICIPANTS!"
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Although these agreements
are embry-
onic and experimental in nature, they serve

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bridge between producers
unions as
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concerned attempt to navigate
the uncharted obstacles in cyberspace.
EARLY BIRD $75 OFF STUDENTS $100 OFF

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specializes in the representation of clients in the
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30
THE INDEPENDENT

Two Ninas
Colvill
by Jim
no time for slow builds. wlth this
"On View"
mind
in
offers shameless plugs for cur-
New
thing
nowhere,
INDEPENDENT FILMS AND VIDEOS IN THE HOPE
meets two
SUPPORT THEM.
YOU'LL
WHO KNOWS
Livingston),
MAYBE THEY'LL DO THE SAME FOR YOU SOMEDAY.
Peet)
One
smart and witty brunette with
much
he has
THEATRICAL
when he
Nina (Cara
called
girls
Buono and Amanda
leading
are
life
rejuvenated
is
Marty
whose
writer
and love
career
twenty-some-
York
Ron
(Swingers'
rent RELEASES AND NATIONAL BROADCASTS OF
THAT
Productions)
Hill
In today's independent film market there's
(January 26, Castle
is
whom
common and the

who sweeps him
in
other a sexy blonde
From Swastika
to
Jim Crow explores the little-known history
Jewish academics expelled by the Nazis who find work
of
Black
in
colleges.
Signs
and Wonders
(January,
Strand
Releasing) Jonathan Nossiter's digital
fol-
low up to the award-winning Sunday

explores ideas of dislocation, both
metaphorical and geographical.
set in
Athens,
is
The
film,
adulterous relationship with one of his co-
family
and
it
has on his
The husband
feelings.
is
an
and
Dog Run
Nossiter's latest, Signs
and Wonders
Films) Writer/
through
its
depiction
of a fictional show. The Contenders

highest-rated
TV
show
in
is
the
America based
on the simple premise of six contenders

plucked from normal life who must try to
kill each other. Each contestant is provided with a gun and tailed by a cameraman
deal
survivor.
The
film's
protagonist,
Dawn, is an 8-months-pregnant reigning

champion with only one round left before
she
wins her freedom from
the
show.
Perhaps unsurprisingly, Minahan got the

idea for the film
from
flee
drug deal
for a
when he was working
producer in tabloid television.
as a
welcomed them. Through
leges that
many
views with
inter-
of the surviving profes-
documentary
on the Lower
who
The
film-
the cast, aside
all
leads, are actual street kids
participated
film
The
something achieved by
feel,
exchange
in
won an award
food.
for
at the
Toronto
(January
Gift
Classics). Director
thriller
the
19,
Sam Raimi
with
territory
familiar
story of
this
Paramount
returns to
Southern
Annie Wilson (Cate

widowed mother of
Blanchett), a recently
three with the
gift
of psychic vision.
When
young woman's body is found, Annie

comes under suspicion and finds her "gift"
is her only hope to save herself, and her
a
Keanu Reeves, Katie

Holmes, Greg Kinnear, and Hilary Swank;
and is co-written by Billy Bob Thornton
family.
Also
the world, they shared the experience of
being persecuted due to their race.
An American
Ralph Bunche:
(February,
death
his
PBS)
new
this
stars
and
Tom
Epperson,
One
False
Move
who
previously wrote
feature-length docu-
first
comprehensive exami-
nation oi the
life
and times of Ralph
is
Bunche in either print or electronic media.

Bunche was the first African American to
win the Nobel Peace Prize, an honor
bestowed upon him in 1950 in recognition
of
mediation
successful
his
the
oi
Armistice Agreements between the Arab
as
He
spent two decades
Undersecretary General of the United
Nations and was celebrated worldwide

his contributions to
The
rights.
Emmy
film
is
peacekeeping and
for
civil
written and directed by
award-winning independent
film-
maker William Greaves.

Jazz (Begins January
10-part, nearly 19-hour
8, PBS) This new

documentary from
acclaimed filmmaker Ken Burns celebrates
music from
jazz
its
origins in blues
and
rag-
time through swing, bebop and fusion. By

providing such a meticulous examination
of the history of
jazz,
America's collective
history over the last century
together.
Odyssey
quarter century after
the
mentary
nations and Israel.
Film Festival.
The
film depicts the unique relationship they
a place to live.
through and instead they
falls
is
inadver-
Duke Ellington, Charlie Parker, Benny Goodman,

Billie Holliday, and many other major fig
tently depicted. Miles Davis,
TELEVISION
until they are dead, or, alternatively, the

final
and
that promises wealth
from the two
the ever-growing popularity
TV
York
both the
director Daniel Minahan's caustic satire
of reality-based
New
the fact that virtually
Deborah Kara Unger, with a soundtrack

composed by Portishead's Adrian Utley.
comments on
Orleans to
that concerns
and Nossiter is an American who was

bought up in Europe. Features Stellan
Rampling,
and
Skargard,
Charlotte
USA
two teenage runaways
makers say they wanted the film to have a
dir-
universities,
historically all-Black col-
formed. Although from different parts of
Miles,
world of sex, drugs and survival.
issue
was only the
executive producers of Kids. Eddie and
and European
it
from many American
sors as well as their former students the
Americans
is
hostility
ment) D. Ze'ev Gilad's harsh depiction of

teenage drug use and poverty from the
East Side where kids are drawn into a
currently resides in the U.S.
Series 7 (January,
Entertain-
find themselves penniless
James Lasdun. Lasdun was born in
London but
Film Festival.
Arrow
between
ector and cowriter,
(January 19,
relationship
ans
Jonathan
Gen Art
winner of the 1999
South. After experiencing
versities in the
writer/director Neil Turitz's film debut
The
in
to
is
The
(I)
Two
Ninas
New
Stellan Skargard
leading
once,
at
problems.
inevitable
American by adoption drawn to the U.S.,

and his wife an American of Greek origin
drawn
to
Europe.
both
date
about a married man's
workers and the implications
he decides to
off his feet. Indecisive,
From Swastika
to
Jim Crow (February,
PBS) Filmmakers Steven Fischler and Joe

Sucher's new documentary tells the previously untold story of the
many German
ures
in
epôde
arc
jazz
is
genius, but
it
>
Jewish professors who, expelled from then
hour
homeland by the Nazis, found new
the present day.
and careers
at all-Black colleges
and
lives
is
discussed.
devoted
devoted
to
pity
An
entire
Louis Armstrong's
that
only the
to the period
final
from I960
to
uni-
THE INDEPENDENT
31
E*
Zhang
Tiger,
Ziyi
(I)
and Michelle Yeoh
face off in Ang Lee's Crouching
Hidden Dragon.
UST TRY GETTING
GOOD
room
time, let alone getting
at the
same
MACHINE'S PARTNERS
down, speak coherently, and not
all at
them
IN
to
A
sit
once. Just try
them to remember what official capacity the

company had on their dozens of movies over the past 10
years, or even in what order the films were made, or when and
how they met. Time floats away. Details get jumbled. The
phone rings, and rings again.
The only certain fact is that even though they met long
before and had worked together, Ted Hope and James Schamus
incorporated Good Machine as a film production company in
December 1990. They remember that because they should
getting
have waited to go
official until after
the
first
of year, thus avoid-
ing expensive corporate taxes due for 1990.
"That was one of the biggest mistakes we made," Hope notes

wryly.
later,
And it's no
the
little
company
and on a
that has the company's future
is
twist of fate
afloat nevertheless
hinging on the same equation that got

first
place:
Hope producing
plus
it
Schamus
off the
ground
writing plus
in the
Ang Lee
directing.
Good Machine
32
just the
filmmaking passions of Hope, the
has worked with other directors, of course,
THE INDEPENDENT
NYU film school grad
with a penchant for guerilla productions, and Schamus, the
Columbia
Class
film professor
talker. It
and screenwriter who
has also been about Lee,
who
is
known
as a
has been with
them all along and prompted the company to grow at key

moments. "We grew up together," Lee says.
It was Lee who came to the company in their second month
of operation with a $350,000 grant from the Taiwanese government for a strange little film called Pushing Hands and nobody
to help him make it. Now Good Machine is putting its hopes on
another strange
little
movie from Lee,
this
Chinese-language myth called Crouching
A decade
roll.
of them first-timers and then repeat customers. Some of

them have even had as good a run as Lee, like Todd Solondz,
Hal Hartley, Nicole Holofcener, and Ed Burns. But from almost
the very beginning, Good' Machine has been about more than
many
one a $10.3 million
Tiger,
Hidden Dragon
that could turn out to be the company's biggest financial and

critical success.
"We've had
to
keep up with Ang.
And
that's
not just
artisti-
on the business side, making sure

that the context in which Ang makes his movies is the appropriate one from a business standpoint and from a philosophical
cally," says
Schamus. "But
also
one.
It's
funny,
one of the things
the company has gone
and better and
Sound too
signed up
for.
self-effacing?
"The
idea was to
initial
"And
production work
actual
movies and
that,
we
This
scripts,"
started
is
Ang
he
as
what Hope and Schamus
make movies, not
make
as
their business accordingly.
many
quality films as
was through the service work
it
that people realized
adds Schamus. "With
moving
accommodate
a director like
so they could
and they have run
could," says Hope.
measure of where
is
better."
They teamed up
build an empire,
say
demands of
the increasingly complex

gets better
I'd
that we've been able to
is
we were
Ang and
we
the
into
others after
and packaging and
into development
shaping films from beginning to end."
And
if
they were faced with the choice of becoming rulers of
a vast conglomerate, but
no longer having time
hash
to write or
out the daily details of a movie, they'd walk away. Also,
if
faced
something they
with the prospect of selling to a larger entity

are offered often
enough that they have
lawyer on retainer to
field
offers
(the
to
Trust were playing. I wasn't even cogwhat Sundance was at the time. But that day, Poison
won the grand prize and Trust won the screenplay award. While
I sitting there finalizing our first cost report, and I heard this
noise behind me. A man was standing there. He said, 'I'm Ang
Lee, and if I don't make a film soon I will die.' I still had a broken heart, but I felt like a man on top of the world."
"The story gets more legendary as time goes by," Lee says, as
quietly as always. "I didn't have two scripts under my arm. But
I had gone six years without a job. I had a little money to make
a film and I needed a line producer."
Hope had actually been trying to meet Lee for years, ever
since he was in film school and saw Lee's student film. He had
tried to reach Lee's agents, but had been rebuffed. Hope says
when Lee walked in the door with the scripts for Pushing Hands
and The Wedding Banquet under his arms, all he could do was
say, "Ang, I've been trying to meet you for ten years," and then
Poison
and [Hal Hartley's]
nizant of
have a
latest sales
be hard
weird thresholdwhere we probably
rumors being about Intermedia)
they'd
pressed to work for hire.
"We're at
this
want to stay for the rest of our lives, by the waywhere capitalism forces you to jump into the next bigger hoop where you either drown or manage to claw
your way up. Or you shrink and die because the scale
at which you have to work is too big," says Schamus.
"What we've
tried to
do
is
make
sure that the scale of
each film we work on remains appropriate to what
its
commercial expectations are so we can maintain an
down and
infrastructure that's capable of dealing with those small,
him
talk to
about getting to work.
made films."
As if to prove the point about their motives, it's impossible to
get Hope, now 38, and Schamus, 41, to talk about the past 10
years in any chronological sense. They don't mark time by years
They shot Pushing Hands

first
and made
simultaneously with a Swiss film by Dani Levy,
it
awards shows, plotting their time between Sundance, the
Was on Mars. At first neither film went anywhere commercialPushing Hands played at the Berlin Film Festival that summer
and was well-received in Taiwan (mostly because Lee actually
made the film and didn't just walk away with the government
Academy Awards, Cannes, and
cash
or
even by the usual industry rhythms of

Berlin.
film festivals
and
Hope and Schamus
think in terms of the movies, and only the movies.
For those who are counting, Good Machine's

cial
It
for Yourself.
At
that point, basically
all
had was a name (from the espresso machine

Jon Amiel's Queen of Hearts
"It's
all
first offi-
Good Machine
in British director
about the caffeine,"
Schamus tries to explain). They had no address, no staff, no

salary, no reputation. Well, no reputation as a company. Hope
was making a name for himself working as a producer for Hal
Hartley, and Schamus was climbing up the ladder with producer Christine Vachon. For the first few months, they worked out
of the production offices of whatever project they were doing at
the
moment. Then they had one very good
day,
ly.
Schamus), but
like others, says
U.S. until after Lee's next film was a
production was a 45-minute short by Claire Denis called
Keep
one of those
apocryphal tales that whether true or not captures the
spirit
of
the times.
"The Gulf War going on, I was putting all of my energy in the
company because my girlfriend left me," says Hope of an early
day at the end of January in 1991. "We just wrapped Keep It for
Yourself. James went to Sundance because [Todd Haynes']
wasn't released in the
it
hit.
The Wedding Banquet kicked into pre-production as soon

as Pushing Hands wrapped. The second of Lee's trilogy about
modern world
fathers coping with the
Drink
Man Woman,
it
didn't look like
Without even getting
first either.
Schamus packed
it
off to Berlin.
there called to say thanks but

absolutely uncommercial.
It's
that concluded with Eat

it
was going anywhere
to see the print,
The
distributors
no thanks. "They
Hope
This
is
was
it
What were we
think-
says.
just
the
start
of
Machine, which had grown
was housed
in a
of going under.
account.
said that
a gay, Chinese-language green-
card comedy of marriage and remarriage.

ing?"
at
Hope and
who saw if
skanky
Hope
We said, well,
and Ang
to
office
says,
fuck
another apocryphal
on West 25th
"We
it,
Good
tale.
have two employees by then and

St.,
was
only had $2,000
we'll
spend the $2,000
When we
we
danger
in
lett
in
to
fly
bank
our-
phone
call that the press screening had jusl ended and the whole audi
ence had stood up on their chairs and gave a standing ovation
selves
to Berlin.
ian
ebruary 2001
got there
got a
THE INDEPENDENT
33
for five minutes."
By the mid-'90s,
The Wedding Banquet went on to win the Golden Bear, do $3

million in initial sales, and get nominated for an Academy
might be called
Award
for best foreign film. All that,
Hope
points out, for a film
that cost well under $1 million.
The Wedding Banquet did more than

coffers
with enough
also set
them up with
money
to run the
a business
for the next five or six years
The key was
growth.
office
fill
Good Machine's
company
for a year.
It
model that would sustain them
and get them
selling their
own
to the next level of
films, at least interna-
But that meant taking on more employees. At that
tionally.
point,
just
Skalski,
who was
the
manager (and former AIVF membership
director),
and
Good Machine had Mary Jane
duced with
Good Machine was
its
Sundance
ended up
a first-time filmmaker
usually
ended up doing
Was...
won
and
at the festival
Tom Noonan's What Happened
well.
1994, Ed Burns' Brothers

company had a string of solid
grand prize in
the
McMullen won
the midst of what
in
Nearly every film they pro-
era.
in 1995.
Then
the
base hits with Nicole Holofcener's Walking and Talking, Bart
Myth
Freundlich's The
Steve,
which won
and 1999's The Tao of

Even more than
of Fingerprints,
a special jury prize for acting.
Good Machine's taste in the marHope and Schamus go for understatement rather than
Lee's films, these established
ketplace.
over violence, and quiet family drama over dys-
brio, wittiness
function on a grand scale.

Except, that
was
is,
Todd Solondz's Happiness, which
for
of brio and dysfunction and a
full
violence, too,
little
form of pedophilia.
in the
Christine
Vachon
Solondz's primary producer, but
is
Solondz says he originally got Hope on board because he
and then he
liked him,
able to
ple of
a production that
Good Machine as
own Killer Films a
fits
with
way
difficult
War
its Civil
Hope
epic, Ride with the Devil.
differs
Anthony Bregman, an
years, the staff
enthusiastic intern. In the next few
would grow
to a
even
dozen
as the infrastruc-
"We had
six
phone
lines,
they'd
light
all
up when somebody
make
says
he finds
independent
head so low
nobody
realizes
She adds, "Even today,

FedEx. One thing that nobody
for so long," says Skalski.
cavalierly sends out a

is
they kept the over-
that James
and Ted had good timing and
a lot of luck,
made huge sacrifices. They put everything back in

company when they could walk away and do their own
stuff, make money, and not have to deal with this company and
manage the work of other people."
but they also
the
Skalski
now
is
still
just using
Bregman
is
around Good Machine, even though she
an
Gallery. "All three of us
producer-anchored,
currently
own
is
Woody
But with
all
industry, they
to
ny, Universal,
"We were
tribute
will
it
companies.
York were stand-alone or
and
like Rollins
Hope
with
Joffe [working
says.
successes with mid-level
were not quite prepared
it
stood in the
for the role they
were
Good Machine handling some

sales. But when the
October Films' new parent compa-
rating,
refused to go through with the distribution deal.
able to borrow the
do whatever
is
money
to
buy
it
back and
dis-
Hope. "Producing with us means we
necessary.
We
will take that
through to the
don't know that they'd

who was happy enough him-
was a learning experience, but

to
do
it
"We now
buy the
The Shooting
very end."
dropped by
THE INDEPENDENT
a production assis-
director-driven
New
Good Machine's
ourselves," says
again," says Solondz,
on Good Machine
got some extra cash from a first-look deal with Fox Searchlight
34
of
movie got an NC-17
Good Machine's vice president of prowho came on after Good Machine

senior vice president of development.
who was
of the financing through international
"It
is
his business
co-produce with Vachon, with
wrapped and
Carey,
how
asked to take on with Happiness. They originally joined on just
self to sign
Anne
interesting
Allen] and things like that,"
duction. Another employee
in 1996,
"But unless
independent films and confidence about where
want
run her
says.
formed what hadn't existed up to that
dedicated to one filmmaker,
production company.
office to
it
of it."
Hartley films, later started
Previously most producers in
rich,
it
film. Larry Meistrich,
Hope on Hal
point
"Because the goal was never to be
less
so
itself is a
from Vachon's and from the venture of
Schamus says, thoroughly enjoying a story about the poor days. "Whenever you
finished a phone call, you'd have to hang up really fast and then
pick up again, because somebody would be waiting for the light
to go off. When you did that, you'd hear somebody out in the
"
other office screaming, like 'Oh fuck.'
lines,"
company
"Producing
Vachon
a living,"
was using them. The problem was, of course, that there were
more people than there were phone
She has kept her
small producer-driven
alive.
a big fan
another guy he started out with in the small world of New York
tant for
ture stalled.
to
is
exam-
piece of
happy dealing with
isn't as
a corporate entity.
you do, you do
it's all
little
Vachon
its skills.
could stay flexible and stay
of studio politics with
just a little
It's
how Good Machine works whatever
of Ted Hope's, but says she
Good Machine got a taste
what Good Machine was
liked
do because of its reputation.
is
for his
next
film,
which
just
as yet untitled.
put in our contract that
film back. I'm
if
films are going to
be
we have first and last option to

not going to make a film and give up on
their distributors,
it,"
Hope. "But
says
what
way
do
distributors
that
for
in
the Devil,
That
so well.
was the
right deci-
it
Faced with that deci-
it
didn't
come
time with
"We
to that."
One way
of insulating
Good Machine,
or at least
the Happiness one was to bring
International.
on board somebody
When
distributors about selling films,
to hanas
realization that they
had
"They
all
are,
and we
festival circuit.
knew who Good Machine
the level of the taste and
much more
they started to meet with
Hope and Schamus had their

real name for themselves in the
marketplace beyond just the film
it
"They
said,
we know who you
trust you."
The company was still small at that point, a dozen people

crammed into the office still on 25 th St. But they would soon
expand and move to their current space, a crisp, open two floors
along the north border of Tribeca.
Now
people at the company, with space for
there are close to 30
Ang
International brings even
fold. It offers opportunity, like
Lee
as well.
more
it
also brings
up a
Good Machine
little
more
has in any par-
ticular project.
Schamus'
at the studio
level of
distinctions
come down
involvement in
helps out putting together
to
Hope and
Schamus
a project. If
some financing
is
just
for a project, like
he
Todd Haynes' Poison, then the Good Machine name

doesn't go on the project. None of Hal Hartley's films carry the
logo even though Hope worked on them. For Good Machine to
put its name on a picture, Hope says, they have to be with it
from the beginning: "The title 'producer' isn't warranted unless
you are the person there from the beginning to distribution."
That said, the fact that there is no Good Machine logo on
Pictures,
is
which was produced by Columbia
not quite an oversight.

in
"It
else in the
Universal
was creatively disap-
kind of mixed up, sad, and glad at the same time," says
Linde.
Good Machine learned enough from those

all
it
went with two

for financing.
"We were
still
the small guys
terms of L.A. then," says Schamus.
"We were
right for Crouching Tiger,
Classics,
they are keeping their expectations as low as
they can for a film that
wowed
New
written
all
over
critics
and audiences
at the
York Film Festival and has 'box

Matrix-like fight scenes (which
its
"We
were also choreographed by Matrix's Woo-Ping Yuen).
have
It
to
experiences
Hidden Dragon. They
Sony Asia and Sony
divisions of Sony,
And
Cannes, Toronto, and the
really fought to
keep our expectations reasonable on
looks like such a breakout gigantic monster
never tested those waters with
Schamus. "The
Chinese," says Linde.
an
this.
but we've
Chinese -language movie
reality
"It's still
hit,
is
Ang
movie
that the
is
in
Lee movie in Chinese,
you know, so we're going to keep our expectations reasonable,"

says
did with
Lee's Sense and Sensibility,
got virtually ignored.
to be released, the
pointing but professionally a great education, which makes you
before," says
what the
on the block
it
And
while the project was being made.
budget was so low compared to everything

pipeline that
this
politics,"
notes that they went through four presidents of
he adds that by the time the film was ready
office' hit
films into the
being able to co-finance a film
but
confusion about just what role
Basically
who
production
try to get
like Lee's Ride with the Devil,
and
it
allowed us to get in the business
quickly," says Linde.
Good Machine
says Linde,
just feel
They were aware of
was.
critics, too.
pitched the movie
morass of studio
a partner in 1997 to head up the international sales division,
first
ambitious pro-
then found ourselves in
Miramax's David Linde came in
dle that side of the business.
Good Machine
work out
didn't
believing in
really
Hope and Schamus,
from having to deal too intimately with deals

like
it
The
damage of the Civil War

ended up floundering at the
box office and had a hard
do the same thing

work harder
sure
magic
about the emotional
ject
again, but I'd
make
to
tried
studio
with Universal for Ride with
producer.
said,
to
the
have
sion.
sion, I'd
repeat
couldn't
strictly as a
But when they
devel-
oped a profound respect
Hope, two months before
its
theatrical release.
Overall, they say they aren't looking for the big score.
are
is
doing exactly what they've been doing
still
playing
it
by
ear.
"What's great about our
what we want
Hope
lays
to do," says
it's
is
They
which
along,
inability to
the question of 'what's upcoming on our slate?'
being a measure of confusion,
all
answer
that far from
measure of being able
to
do
Schamus.
out the three films he's worked on most
this year
Good Machine way. One was the Todd

Another, Human Nature, written by Being John
as being indicative of the
Solondz
film.
Malkovich's Charlie Kaufman, he says was designated one ot the
non-entity." (In fact,
Hope had never even been to L.A. until

when The Wedding Banquet was up for its Academy Award.)
Sense and Sensibility was an example of how Lee pushed Good
best unproducable screenplays by Entertainment Weekly. In the
1993
Bedroom, directed by actor-turned-director Todd Field, got a
Machine along
to the next level,
for the first time.
ment
working with
major studio
"They very graciously worked out an agree-
how and why I was a necessary part of that equaSchamus. "For me and Ang it was the best introduc-
as to
tion," say
tion to studio filmmaking, because there was nothing cynical
about
similar
honor from
Premiere.
So what does the future hold?
Schamus
says, "All
can
tell
you
is
that
Good Machine
will
be around in three months' time."

Beth Pinsker b an associate editor
at
Inside.com and was previously a film
crmc
at the
Dallas
Morning News
it."
THE INDEPENDENT
35
as a
roadmap for our conversations

we need to do better
in the beginning, a guideline
to things
It
was intended
And
to
be a roadmap for producers.
someone who had been a producer,

talked about have been my own experience.
as
all
the things you
What were your experiences as a producer?
A Producer
Heart
at
i
A CONVERSATION WITH PBS'S NEW
PRESIDENT,
Pat Mitchell.
Hedlund
BY Patri c
She's
woman
dent/CEO,
to meeting
is
on
room
a hurry. Pat Mitchell, PBS'
in
to lectern
next stop. Her goal
is
and back to the tarmac to jet to the

each of the nation's 346 pub-
to visit with
television stations before the
lic
producer to hold
brings a
fifth presi-
whirlwind marathon, jumping from airplane
end of her
first
From Anchorage
this job.
new message about
to
year as the
first
Miami Mitchell
the digital future for public televi-
sion.
"Content
is
king," she states in a unique accent of soft south-
ern sounds wrapped around crisply focused ideas. "Content

the key to the future."
It is
no accident, she
says, that a
is
hands-
on producer has taken the helm just when digital conversion,

DBS, and technologies like TiVO hurl new challenges to the
ability
of public television to hold
media mergers narrow the
stations,
is
audience.
mandate becomes
U.S., public television's
Mitchell's race
its
As commercial
diversity of broadcast dialogue in the

all
the
more
to recapture the trust of producers,
and the audience that PBS
urgent.
member
will deliver "the strongest,
most impactful, and most distinctive content on every
plat-
form." She calls for "talented, courageous, and concerned pro-
ducers to bring their work and their passion to PBS."
The Georgia
native laughs easily and nibbles peanuts during
our interview seven months into her mission, but the layering
of energy, experience, and
new
You took your job at PBS

Trail" article
the
commitment that she brings to her

on the sunny fall afternoon.
job leaves a powerful imprint
maze
appeared
in
March, the same month the "Breadcrumb
in this
of interlocking
magazine,
in
which
organizations that
is
tried to disentangle
our nation's public tele-
vision system.
Yes, quite literally, the first day, the first hour,
A lot of people were talking about
on
this job
read
So I took it into my first

meeting with my programming team and said 'Look, there are
a lot of questions here, and we need to answer them.' I took it
it.
36
THE INDEPENDENT
it.
I've had two different independent production companies

which I started from scratch and ran myself. The first was called
Pat Mitchell Productions, and I had one partner. We sold a show
into syndication, so we had 115 people working for us at one
point, and when that show went out of syndication, we went
back
to being a
two-person deal.
What was the show?
Woman
Woman
to
to
Woman.
My
Woman and
partner and
sold
it
to
took an idea based on
NBC. Then I formed
ny with four other documentary filmmakers.

called Century of
We
Women, which we had taken
never got an answer back from
PBS
actually.
to
had
PBS
compa-
this idea,
first.
We
When we
and
working
PBS
for
my
partners and
We
the time.
all
assumed we'd end up
We
them?'
had
going to
sell
knew we
weren't going to
all
worked
them
sell
it
to Turner?'
at the
somebody
were ahead of the
'Why
said:
don't you
taries. They were doing 400 hours a year when I came on board!
So my experience is as both a producer who ran two small companies and as someone who ran a $40 to $60-million budget
when I was at Turner. [The films Mitchell commissioned while
won 44 Emmy
in this position
I'm committed to finding ways to get the absolute best, most

interesting
work on PBS.
know how
to find the best people
Television for several years
CNN Productions and
of
Time,
Inc.
when you were approached about heading
PBS.
way
that
a President
& CEO
who's a producer. There's never been anybody in
What
is
First
all
takes to get
As
cobbling together
all
it
out. See,
years in the business
your
people;
Why do you
ing
In that
One
after
of the
25
first
for all sorts of
why
needed
asked them the questions you raise in
from the point of view of

approached PBS
I'd
worked
my own
originally,
for Turner, but
did
personal experi-
was pretty informed.
had some
an unknown person walking
credits.
in the door.
never get through the maze of PBS?
between member
to have a
stations that produced,
member
station go in with
the avenue in for independents?
And why,
cersaid,
Why did-
think you'll be surprised to discover
producer at heart. That
is
and whether
me? Where was
now, does every pro-
meet say 'I've had a proposal there

months and still have no answer'?"
ducer
"We
of this
my
is
on
way
in a
here?'
looked
[PBS headquar-
year to going out to
first
"Listening Tour."
don't really understand
And
getting commissioned."
is
kept hear-
how
the pro-
that's within the sys-
tem!
need
told people at the stations that
the parts of the PTV system
fit
map
to
We
that.'
The PBS
and
and on the web.
totally transparent
[www.pbs.org/producers] on the
the
it,
was making
together, they said 'Great!
Here's the good news.
thing you get
first
"Welcome
to
PBS and
is
home
a
is
here's
part
going to be completely
We
have
page.
what we
new web
When you
from
letter
The next
for.
senior
on
says,
."
It
thing says,
"and here are the people that
new
site
click
me which
are looking
describes our whole approach to content.
you'll hear from and relate

programming team has been announced.
What have you put

."
.
understand as an independent producer what the relation-
ship was
it
to."
'
important to have a producer's sensibility lead-
meeting
first
When I
"Look,
do
in
place?
John Wilson, who was the acting head of programming, had

been shouldering the burden. And it is a burden. Two thousand
proposals are coming in over the transom. That begins to
was before
why
was: 'We looked at
think that's a really good question.
tainly wasn't
have a
for
feel it's so
article
ence.
n't
PBS.
stations,
PBS now?
your
It
PBS Search Committee asked
why never
said, "I
never worked for PBS.
and you've produced documentaries
credits,
the funding
didn't
"Follow the Breadcrumb Trail" map, and that's
questions the
got a great
gone to PBS and to PBS member
never could figure
'I've
done.
it
a producer I'd
and frankly
of that, from
much
stations. It
ing from our stations:
When
have done
don't have the best
in Alexandria, Virginia
I'm devoting
how
idea,' to five years later finally
Now
meet the member
production and to be out there finding the funds to proI
we
to find out, 'Okay, what's going
what was going on
Exactly.
a [production] budget, to
If
at heart
to be doing, in a
the job like so far?
needed
explain
do
like to
it's
duce programs.
it
PBS
who
PBS ought
would work on Fox, for example.

content, what else have we got?
manage on-
knows what
line
at
this job
community, but that
true to our mission. I'm not going to
is
and get the process working
that
gramming
There has never before been
Yes.
think they believe that not only do
friendly to the creative
it's
ters].
had also been president
You
care deeply about the kind of work
at
Awards.]
is
king.
so
We
even know Turner made documen-
didn't
we
networks, we
else are
there.
Lifetime and such hadn't started yet.

cable channel curve. Finally
where
and every other distribution platform. Content
cast, on-line,
thought, 'We're going to do
these serious, issue-oriented documentaries
take
on women
got the idea of doing documentaries
children's issues,
for eight or nine
explain
how
papers got piled up on desks. There wasn't any
well-defined greenlighting process.

I
different perspectives, different experiences, so that

reflect that
kind of diversity in our content.
how
considered this team and
how much
I'm really a
what motivates everything
do.
Is
the
It's
team
starting to get
its
it
will
President of Programming in Alexandria,
What do you think they are looking
Gustavo Sagastume
critical
ferent awareness
now
of what happened before, there
at the top
of how
is
this process
a dif-
needs
work to bring in the best talent, the best ideas, the best projects. At the end of the day, all of our other challenges are going
to be based on whether we have the best content
for broadto
start to
wings?
already
from you?
we
very carefully
underway. We've been meeting every Thursday and we've
most interesting work on PBS.

for
I've
work.
Clearly I'm going to be looking for ways to get the absolute best,
Without being
decided that rather than name a Chief Content Officer

model we may eventually move back to right now we need
two things: First, we need to open up the process so people see
there is an open door
both to our stations and to outside producers. Second, we need to clarify a process that is easier to
navigate and from which it is easier to get results.
To make that happen, we need a team with different voices,
moved
things along. John Wilson
is
Vice
President,
is
the Senior Vice
our
home
Programming,
office.
from
Florida; Jacoba Atlas holds thai position based in Los Angeles.
Cindy Johanson, Senior Vice President ot Internet and

Broadband Services, is also on the team. [Two others ha\ e since
been added: Alyce Myatt, Vice President, Programming,
i-
based in Chicago, ;\nd Cheryl [ones, Senior Director, Program
January/Februan
AVI
THE INDEPENDENT
37
Development and Independent Film, is the liaison with the

independent community and manager of the program submission
described
pipeline
below.]
impressed
was
He
skill.
enthusiastic about
gramming decisions
team
your
with
management
making pro-
with a consensus
approach.
in
It's
it.
way we work.
believe
very hard for one person
make
to
all
the decisions about
something
important
as
content. Yet there
as
one
is
who must
person
ultimately be responsible,
and
is
a process in place.
more
little
now
me. But
that's
there
A
with the producer.

A
on that?
detail
Every proposal has to be
submitted
writing
in
ing.
739-5295].
It
can be submitted by email
missions agreement
is
know
minute.
It's
22314;
fax: (703)
you want, but
We
going to be signed.
media company not requiring

tracking system to
if
It's
exactly where something

July 12
a sub-
were the only
a submissions release.
way of knowing, 'On
an answer. They are protection
is
at
any
signed this agree-
producers as well as
for the
I found them
At PBS there is an actual greenlighting
sheet we are going to use, so now we can track how we are making our decisions and evaluate what is working and what isn't.
On the web site there are criteria for what we are looking for in
the company, and
instigated
them
what we
American public
all of us. That's as many diverse voices as we can find. The
Minority Consortia was an attempt to fund a development
effort so that Asian and African American and Native American producers could have their own portal. I am a huge fan of
every genre.
5306
to request a
from the web
site
or call (703) 739-
form by mail. Jacoba Atlas, V.P Programming,
meet with pro-
ducers face to face, and that even though every proposal
entered into the central computer for tracking,

entry point, not a stopping point.
Expanding inclusiveness
is
want
"I
agree with that,
think that
is
exactly
is
to serve the
PO.V
I'm trying to find funds to continue that strand
That's
some
all year.
most exciting work coming through PBS. There are a
of the
younger fans with a love
lot of
of
documentary, and
has some
P.O.]/.
of
the strongest content for that growing, young audience.
Absolutely.
We
have
virtually
no other way
an eager but
for
inexperienced documentary filmmaker to come onto the prime-
PBS
time
schedule other than
PO.V and
Independent Lens. I'm
asking [PO.V.] and some of the Minority Consortia leaders
we can come up with a couple of other umbrella

not enough places for that yet.
series.
how
There's
I'm pleased to hear you say that.
think you're surprised to discover that I'm really a producer at
and that
heart,
what motivates everything
is
do. Clearly I'm
going to be looking for ways to get the absolute best, most interesting
work on PBS.
Then
let's
put an end to this myth that filmmakers can't recognize a bad
business deal.
It
is
now
can be an
is
a violation of the public's trust for
donor dollars because
PBS
to receive
our work, then offer us contracts that
of
make
it
impossible to survive.
Two issues.
gram and
As
if
it's
air
mindset:
First, this
it
to
we put our PBS
"If
logo on your pro-
our vast PBS audience, how could you ask for more?"
impolite to mention
Are you hearing
this
we have
pay the
to
rent.
from PBS in Alexandria or PBS member
stations?
Both: "Our logo
a release
L.A., emphasizes that regional V.R's are eager to
posals.
only do
at Turner.
incredibly valuable.
[Download
being
is
a great
ment,' and they shouldn't be sitting there the next July waiting
for
through the producer and
the public contributes to local PTV stations
ought to be doing. Our mandate
VA
1320 Braddock Place, Alexandria,
it
together.
People really appreciate that work.
Not
[PBS Program Development Office,
money
the
lot of
We work
offered to support the kinds of bravery independents bring to filmmak-
Gustavo Sagastume said he's
That's the
genre teams take over and manage
is
mark
of prestige"
even
if it
means
you'll
go three
years with no income from work you have sunk every personal dime
into.
Hmm,
I've
heard that too, but
a project for
said that to
which
heard
it
from ...
borrowed every dime
mean
could,
and
did
A&E
me! [Laughs]
to see outstanding pro-
the goal of the
new
regional
programming team."]
Aha! So you got the

I
know
that story
A&E stamp
of approval!
and understand
it.
This
is
a very big issue that
has developed over time because of the 2001 hours of program-
What genres do you plan

Kids
is
one,
to
use?
Affairs, History, Biography,
Science, Exploration, and Independent Filmmaking, which
not a separate genre but

to
am
is
assigning a separate content
team
new
fran-
work with the independent community
to develop
chises.
content manager. But the teams are not just from the pro-
gramming department; they include our promotion and marketing people, online people, and business affairs people.
Once the senior team has commissioned something, the
38
THE INDEPENDENT
a year being sent to
PBS.
ber stations saying 'We found the
didn't ask for
As
Each content team has someone from the programming team

as its
A lot of
coming from memfund this, now you

guys air it. All we want is a national airing." It built up a negative ethos about the work itself: "Well, okay we'll air it, but we
ming
News and Current
it is
money
to
it."
a result the primetime schedule started to look like a
mishmash.
No
started
say,
to
Biography?
development, no planning.
'Well,
Where
is
where
is
History?
And our
Do you
audiences
still
have
Science?'
We're trying to stop
all
that.
We
need to say to
all
of our
member
go out there and make programs
stations: 'Don't just
want
that you
without us
to be national
talking about
first
it
we want to make sure it's funded.' A nationcome free to PBS. There's promotion, there's
together, because
doesn't
al airing
marketing, there's satellite time, plus the station relations work,
network costs to get
What
on
it
many
as
stations as possible.
what that
sure
ask
to
get three different definitions. I'm not
from the government. Look
emerged when Newt Gingrich's
down the drain
allocation to slip
Yes,
it
caused $50 million
politics
of
CPB
set-aside.
branding and promotion mechanism
was
this
all
to sell toys
from which PBS did not
Criticism.
And
Downey [former Senior Vice
but Ervin Duggan with Peter
PBS and the
President of Program Business Affairs] helped save

ture.
WGBH) and
programming
profitable
model
struc-
member stations the
The Station Equity Model was designed to give
best return on their

(like
dollar vis a vis the producing stations
companies
those producing Barney. But
like
neither of those categories. Duggan's
fall into
converted public funds for noncommercial programming into
1)
PBS venture
capital; 2) paid absolutely nothing for three years' exclu-
gave PBS equity ownership
sive broadcast rights to indie films; 3)
indie productions;
and
of
threatened the ability of truly independent
4)
voices to work with PBS. [Ed.: For details, see Hedlund's article
in
March 2000.]
If
we were
"Sure,
money
to
By the way, even though you're
am
crumbs
somebody
to
have
want
much an
pretty
we can be
that
more financing from
to find
to finding the
money
to
fund a project.
it
so that you can be
risk personal financial securi-
made. Finding ways
to bring us
and
that public portal for ideas
together so
all
issues
what I'm
is
trying to do.
we
get less than
for securing
6%
more program funding?
from foundations. Absolutely outra-
geous. Foundations have never been richer in this country.
More
of their
sion projects.
need
to
do
money needs
We
that.
toward public
to be directed
them with new bold
haven't gone to
And we need
to find another
Are there no other companies with
televi-
ideas.
We
Exxon-Mobil.
a social-conscience, for
Heaven's sakes?
Who
picked up Ken
Burns' projects?
Exxon-Mobil
is
Masterpiece Theater
and General
buy the
we
then
flour,
100%
eat
still in
else,
70%
debt for the other
we are
if
the
you happen to
first in line to
it
sell
gobble
PBS programming
make
to
point of view.
We
Scorsese (above)
ourselves producer-friendly in every

to increase our rev-
miere group of feature filmmakers, including Spike

Lee, Michael Apted
Levin,
can't
draw you
a model, but
think
every case needs to be considered individually.

position
is
that
we have
to find
enue so producers don't have
please."
am
want
hut
to
we
can
call
new
It's
way
My
sources of revenue so
money
position
is
is
to give
are not
a fabulous
to
be
projects until 2003.
one General Motors
made? No,
don't
We
fee."
new
is
and the ones like

some new sources oi
to help our producers, both in the stations
you, to
come with
money, because
the big idea. Let's find
don't want any producer to spend five years
fundraising.
a producer deserves for

You've talked about finding other sources of revenue. Are you exploring
the work.
some
Let's look at the
as seed money
Charles Burnett. Marc
have to go out
and find them. What wain to do
documen-
to find
Ken Burns'
believe that.
over,
you a licensing
(left),
and Wim Wenders.
there only
deal
new money.
we have
that
we can pay what
Is
sitting in
possible to get
have to say to you, "That
That's not right.
We
not just
and say "send the money
looking every
don't have any
for
sources of rev-
to fundraise.
going to get that from Congress.
some pool where
the Mitchell era: Martin
executive producing The Blues.
a G-part series on blues music directed by a pre-
want
certainly don't
no sense whatsoever.
My
in
is
enues by taking them away from producers. That makes
tary,
it's
It's
are a system
so deeply concerned about this because
come back
any proceeds.
don't
we
cookies. Here's the deal: you do the baking,
of the
cost to buy the butter and chocolate chips,
We
budget
its
cookies for three years without paying anything for them.
of the
a few
of
bakers, consider doing business with a family that says:
30%
up
20%
NHK or France.
or
Motors signed on
we want your
we'll put
does
really
Well,
rightfully,
BBC
we can put more money up
What are you considering
we
ed $800 million to public broadcasting in 1999, whereas the

U.S. allocated $250 million]
ty to get a film
Then came Barneygate, revealing that companies were using PBS as a
is
[Canada, with 1/8 our population, allocat-
courageous but you don't have to
was a very scary time.
benefit, so there
at the
fact
are the only public televi-
sion system in the world that gets less than
Nonetheless,
It
We
have a limited amount of money.
other sources so
means.
really
max.
We've kind of taken away those percentages, but the
unfunded
Model
a favor, will you? Explain the Station Equity
me. Every time
30%
that was set aside to serve the public, but
Applying the Station Equity Model contract to Independents.
Do me
to put in
a complicated situation because, fundamentally,
your second issue?
is
was looking
numbers. CPB puts up

in
15%
of the
the few projects they help fund
production budget
and
last
kind of partnerships with commercial entities, perhaps
There
are challenges that I'm sure you're aware
year PBS
of,
HBO?
hut
think
CONTINUED ON PAG
|anuan February
2001
THE INDEPENDENT
39
Christopher Meloni
in Kelly
Anderson's
Shift.
Dramatic
Possibilities
ITVS's
American Stories
After the plug
was
pulled on
homegrown dramatic
American Playhouse,
fiction all but
vanished on
public television. Since then, ITVS has stepped
with "American Stories," an
initiative
designed
to fund hour-long narratives for television.
GABRIELLE IDLET
its
success and challenges.
reports on
in

When
you watch television, do you see yourself? Do you see the kinds of people you have known,
working and loving and
do you
living in the
ways that you have seen them work, and
love,
and
live?
see the places that matter to you, the rural communities or great expanses of wilder-
ness or the dense, entropic city streets that have given shape to you, your family, your friends?
Most
likely not, unless
you happen to work in medicine or
law enforcement or the White House (which,
And
magazine, you probably don't).
this
sion can,
on
rare occasions, capture the
if
you're reading
while the best televi-
murky complexities of
our
human
lives that
TV
drama
truly mirror our discomfort or confusion or
transcend vocation, almost never does a
wardness, or echo the emotional minor notes that
For these things,
and
find our
way
we go
to
to the movies.
independent
films
awk-
our days.
fill
(Or we purchase cable
on IFC
or the
Sundance
aim
has held as a central component of
new audiences
to bring
that
mind,
in
American
its
mission the
With
adamant that filmmakers gear
to the public broadcast arena.
they were
Stories projects toward television viewers rather than
theatrical audiences.
A,
l.merican
not ITVS's
Stories was
narrative filmmakers.
attract
In
PBS
however, you happen to switch on a
station in the
town at the right time, you might just find yourself watching an hour-long drama that does all those things, produced by
the Independent Television Service (ITVS) through its
American Stories initiative. Three have come out this year, and
seven more are in the works or awaiting release. Of the ones
right
completed thus
far, all
common
have in
the originality of their
to
first effort
1992, four years after the
Independent Television Service was established by Congress to

fund and present independently-produced programs
Channel.)
If,
ITVS
nings,
ITVS
television,
brought forth
initiative
for public
That
issued a special call for dramatic work.

its
TV
Families series,
which included
work by soon-to-be well-known independents Todd Haynes

(Dottie Gets Spanked) and Tamara Jenkins (Family Remains). In
fact, ITVS supports the development of dramatic work through
programs and on an individual
a variety of on-going funding
Among ITVS's recent narrative projects
basis as well.
are
Robby
makers' visions and a vital specificity that comes from being
Henson's Pharoah's Army, David Riker's La Ciudad, and Carlos
rooted in American region.
Avila's Foto-novelas series, all of which
Four years ago, ITVS sent out the
of three annual calls
first
asking independent filmmakers to submit applications for either

script
development or production funding under
American
gap
left
Stories initiative.
The
their
project was designed to
new
fill
the
by the dissolution of American Playhouse, PBS's long-
on
attention
Though many people
Open
receives tend to be aimed at
phased out over time for financial reasons. "At

stuff
what
I'd
known
be
programming. American Stories has been, quite simply, a high-
that they wished to fund a
handful of narrative projects intended for public
$300,000 each, and that
to the tune of
makers
full "creative, editorial,
duction."
Not
will give
have
to raise a
TV
broadcast
would give
its
film-
financial control of the pro-
bad proposition. As ITVS's programming man-
ager Richard Saiz puts
who
and
it
it,
"I
you a whole
penny?
It's
mean, can you think of anybody
six-figure budget,
like
where you don't
manna."
come
length of a
TV
in
on budget, and don't exceed the
hour (56:40). Reasoning
for the
ous; reasoning for the latter, according to

First, as
push intended to spark the idea
visibility
in the right sorts of
filmmakers that they ought to consider creating original drama

for public television audiences.
Which
is
exactly
American
what
it
has done. Each of the three annual
Stories production proposals yielded over
stipulated
former
ITVS,
is
is
obvi-
twofold.
Liu says, "American Stories was conceived to be a lab,"
through which emerging filmmakers and documentarians look-
Open
Call brings
in.
Applications for script development fund-
ing neared 100 submissions each time.
(ITVS has funded
a total
of 10 scripts for development through the initiative, three of
which
has optioned to produce.)
it
American
perusal of the five
Stories projects available for viewing at press time
suggests that the initiative has succeeded in inspiring an engag-
work in the narrative form. Limiting

length would give these artists an opportunity to
environments from which they come.
Andrew
view of
Garrison's
life
The Wilgus
in Eastern
Stories, for instance, offers us a
Kentucky that goes a long way toward
inverting patronizing stereotypes of Appalachian coal mining
communities (perceptions that emerged,
the ethnographic documentaries that put
map
pan. from some of

the region
1%0's War on
ing to cross over could
nation's
each
Tender, complex, and deeply intelligent, Wilgus
project's
30
submissions, roughly double the dramatic submissions each
ing range of productions, works deeply grounded in the diverse
Selected filmmakers were expected to adhere to a couple of

basic rules:
80
remainder made up of animation, experimental, and children's
calls for
let it
full
period
looking to find a whole range of voices, con-
ITVS
Call submissions were for docu-
call
shape or form."
in 1997
documentary funding.
March 2001 Open
mentaries, while only six percent were for dramas, with the
temporary voices, filmmakers willing to take creative risks in any
So
kinds.
most
David Liu, executive in charge of

programming and development at ITVS. "With American
we were
all
British
pieces by dead authors," says
Stories,
ITVS's bi-annual
is
this point,
public television
Masterpiece Theatre, Mystery, or
it,
However, the vast majority of applications the organization

percent of
on
aware of
aren't
Call invites filmmakers to propose projects of
running program of high-quality original drama, which was

of the dramatic work you see
have garnered significant
a national level.
explore dramatic filmmaking sans the pressures that go along
with producing a full-length feature. Second, since
its
begin-
cultural
during
the
is
on our
Poverty').
coming
ol
age drama told in three parts.

"I
had worked
for years in
documentary, producing n\v
own
THE INDEPENDENT
tles
sound
York City and
for other
says
Ned Beany
Garrison.
whether
Garrison
made
tion
and
people,
was interested in trying
know
didn't
"I
could do
fiction,"
or not."
it
Wilgus's
first
sec-
Andrew Garrison's
in
southern trilogy The Wilgus Stories
between an Egyptian immigrant shopkeeper
work, and shooting and taping
as
stand-alone short a
decade ago.
He
then went hunt-
his
Montana hunting guide
Season focuses on the struggle of a
hold onto a disappearing way of
environmental change. These are smart
and even where
films,
they are wet behind the ears with the relative newness of their
makers, they do something important: they introduce us to
American experience not
ers of
regularly
shown on
They
reflect real people
cinematic chapters to the piece and form an unusual sort of fea-
us; if
not those we've encountered, then those
part of
happened, ITVS funded the
it
TV
its
Families program.
ITVS covered
initiative,
section and took

trilogy to
final
film's
second section
Under the American
production costs for the
on the work of marketing and
as
Stories
distributing the
that this part of the
ment.
We
we were
not ourselves, then others around
try
with an open heart and a cocked
O,
ear.
ARE THESE WORKS MAKING
Of
all
were offered to PBS
(With hard
declined.
TO A
IT
for national
"and also there's a
with
and take advan-
fabled treasure
and
short, Pretty Vacant,
and was developing
when he saw
tale
of Gregorio
American Stories call for submissions.

His resulting ITVS-funded film, Come and Take it Day, tracks
the efforts of a group of contemporary Chicano restaurant
the
workers to find the buried
silver offered a
100 years ago
for the
film, currently in
it is
mod-
postproduction, raises
questions of identity and responsibility to one's history. Beyond
Mendiola has sought to present public television audi-
ences with multilayered Chicano characters
fully
realized
people whose interests roam from politics and social change to

the intricacies of pop culture
on both
(which
who
writes
after
is
that everyone can potentially tune in to
42
THE INDEPENDENT
Shift,
fall,
The Cracker Man has had
most of them around the 4th of
which the him takes
which were
place).
it.
The Wilgus
offered to stations directly by
ITVS
PBS refused them, have had 45 and 20 airings respective-
Guide Season was declined by PBS and was
ITVS
in
November,
early to
it
be offered
went
to press.
as of yet out in the world,
draw conclusions about the
gramming. Nonetheless,
set to
as this issue
it's
appears that both national and local
PBS programmers have been
less
than universally receptive to
these works. What's the story?
love
ITVS
is
that
its
own
mission makes
it
serving underserved audiences, then you're

that not everybody wants to see.
look at
this,
and many of them
for this.' " Lois Vossen,
ITVS
and
difficult: If
you're
"I
there's the public
sion audience, which
mers would love
say,
making material
So these program directors

'we don't have an audience
ITVS's director of broadcast distribution
and communications, adds:
Of course,
too
relative success of their pro-
Says Wilgus' s Garrison, "Part of the problem with
You don't have to have cable." With Come and Take it Day,
Mendiola hopes to reach "regular PBS viewers who have an
and this will totally
idea of what Mexican Americans are like
challenge their thinking on that
as well as every MexicanAmerican or Latino with a TV who'll see that there's something on public television for them."
Other works range widely in content and style. Kelly
Anderson's Shift follows the slender thread of a romance
between a prisoner and a waitress in bleak, suburban South
Carolina, while producers Bruce Kuerten and John Dijulio and
director Rudy Gaines' The Cracker Man explores a woman's
love for her 100-year-old grandfather in rural Alabama. Andre
Degas' The Kitchen examines the cultural and generational bat-
air dates,
With only three of 10 works
on
San Francisco Bay Guardian, "The great thing about
public television
and
to stations by
film for the
run with 299
July (the holiday during

Stories
gen-
program, then broadcast at their discretion during
month-long window) As of late
a decent
as
PBS-Plus feed
offers a soft feed at off-hours; in this case, stations
erally tape a
sides of the border.
Says Mendiola, a curator of Chicano cinema
Man
Cracker
ly.
exploration of the corrupting lure of assimilation as
ern treasure hunt, the
tion.)
Take
was accepted
much an
martyred Mexican American folk hero's capture. As
na-
its
promoThe
tional
particular fellow Americans.
one-act play related to the legendary Texas
Cortez,
tage of
Jim
Day.
It
thought from readers. Wilgus encourages us to consider
that,
in
Mendiola's
2,000 miles to the West, the San Francisco -based Jim
feed
the
of Gregorio
Kinfolks, the
Come and
Some
show
Urban Tejanos
same
Mendiola had made a
far,
were
all
go after the
that the best literature leaves "white space" for leaps of
these
and
simultaneously
class ele-
film has the quality of being intermittently quiet in the
hard feeds
stations generally air the
feeds,
don't often see working people speaking for them-
thus begin to understand
PUBLIC TELEVISION STA-
the three that have been broadcast thus
Cortez
way
we might easily
own coun-
any distance in our
to travel
South doesn't usually get seen and
this way," says Garrison,
Adapted from Gurney Norman's novel
selves."
if
tion near you?
The Wilgus Stories exemplifies the initiative's greatest

strength
its aim to support authentically American stories in
the form of innovative dramas. "With ITVS, I made the argu-
ment
come upon
if
sliv-
television.
film's last
programmers.
handled in
to
and
in the face of societal
life
ing for funds in the hope that he could generate several other
ture; as
New
living in
musician son, and Michael Hacker's Guide
is
empathize with the programmers.
and then
there's the public televi-
a totally different thing.
The program-
to serve the larger public, but their
demo-
graphics are white people between the ages of 40 and 85," she
"ITVS is trying to expand who turns on public

and programmers understand that and welcome
points out.
tele-
vision,
that,
but they're
still
trying to serve a core audience that's basically
sending in their pledge every month."

"I'm not that happy with the carriage of Shift" remarks Kelly
Anderson. "[But]
actually feel
good about ITVS's marketing
They put
of it.
It
it
out there.
And
the film did okay festival-wise.
premiered at Rotterdam, and
the United States.
just don't
number of
did a
it
know how dramas
festivals in
home
find a
at
drama, and a
But worth
Arguably, because the films are not presented as parts in a

they can have a difficult time making
series,
gramming
As Anderson
labyrinth.
puts
it,
it
through the pro-
"One-time
airings
is
a hard context for this
kind of
Shift
film.
think
would have
traditionjust
is
but
my
might
it
understand
San
to
Francisco's
KQED,
suggests that the opposite has been true in his experience.
them not
who
as a series,
"It's
but instead as individ-
American Stories
films available so far, notes that dramas from American
Playhouse and documentaries from PBS's PO. V series, for example
both of which carry with them the brand and visibility of
their series names
have done just as well when broadcast as
has aired
all
three
when aired in a series time-slot.

Vossen, ITVS did in fact aim to offer the
stand-alone shows as
According
to
American
tions,
produced some very interesting
do cause some problems
theless they
don't
dis-
for
things, but never-
programmers because
one
all
work based
Exxon-Mobil
Theater's
moving
member
to
stations,
wishes
who
in
Andre Degas' New York-set drama.
isn't
NETA,
much." In
that dramatic
work
public television association of
just isn't
much narrative work on PBS.
coming through, but
part,
is
so
Loeber
stresses, this
much more
costly to
for the
most part
due
to the fact
is
produce than doc-
"There's a perception that
PBS has all this British drama, but

PBS spokesman Harry Forbes
where's the American work?"
"The
reality
with changing social attitudes
in
Guide Season.
last
fall
partnership
WGBH/
high-quality
stories
by
Langston
authors like
U.S.
WNET New
series,
York's
Stage on Screen, produces theatrical
work
Who Came
for public television;
first
its
Hollywood
Man
And from
program, The
Dinner, was broadcast live last October.
to
Television
is
creating char-
on a sound
stage in a
reminiscent of Hollywood's Golden Age.
for
long
felt
American
that
the need for an increased presence of
is
that
Masterpiece Theatre for
all
Exxon-Mobil has
these years, so
it
fully
underwritten
doesn't cost
PBS
ITVS's
Stories, says
remain-
Liu, while the
way onto public

ITVS has placed the funding of new work on hold so
it
can evaluate the program. Liu anticipates that the orga-
nization will issue another call for dramas sometime this sum-
mer
And whether
American
programming on PBS, the
Independent Television Service remains committed to fighting
or
Stories
fall.
or not the bulk of the
enjoy widespread
films
the good tight.
"What
always remind myself and
mv
staff
i>
that we're here to change public television," says Vossen. "If
everything
umentary.
agrees.
at replenishing the public
Collection,
launched
television,
served as ITVS's director of marketing
"There
initiatives that are
there
U.S.
life
generate
to
As
Masterpiece Theatre, sometimes Great Performances, a few of the
new
"Because
36.]
ing selected projects take shape and find their
The Kitchen: A son defies his Egyptian father's
television.
Says Gayle Loeber,
so
that hole."
to wish
more
American drama on
public
it
push
Boston, and Alt Films, aims
was
there
Institute, will
American drama on PBS," Forbes notes. "And, though

American drama is the most expensive of programming forms,
we think these new series will go a long way towards plugging
AROUND,
one seems
aimed
Masterpiece
"We have
.SK
president Pat
A hunting guide attempts to reconcile his
the
in
between the BBC,
style
though, and every-
before
series that are
American
series
through
kind."
A,
new
bringing a different sensibility
acter-driven dramas and comedies, shot
of a
mean,
landscape with narrative
KCET in Los Angeles, PBS
in
fit
existing boxes; they
are
new dramatic
Hughes, Henry James, and
echoes ITVS's Liu, "American
has been involved in the development of sever-
Tennessee Williams. Another
Stories has
they
may be
Stories films as a series to public television sta-
tinct stylistic differences. Indeed,
inno-
It's
about."
is
but feedback from programmers indicated that they
wouldn't be likely to broadcast them as a group, given their
voices
says Loeber.
it,"
drama drawn from

initial
should
from the cable broadcasting arena and,
hails
PBS
Indeed,
television?
new
on the board of the Sundance
to that side of
al
it's
are hopeful that PBS's high-powered
Mitchell's a producer, she
TV
it."
different,
it's
more dramatic work. [See interview page
for
for
programmers
ual shows." Dwyer,
Many
sits
This
PBS
everything that
it's
happens,
have been hard
easier to schedule
experimental,
dramas, because
guess,
at
it's
who
al.
"Why
work that should be on public
the kind of
vative,
Mitchell,
little bit less
But Scott Dwyer, program director
have to pay $4-95
well with a group of

a
just very, very expensive."
is
believes Shift director Anderson.
it,
British
American drama.
consistent presence of
month to get my Sundance Channel

Sundays," she wonders, "when it seems to me clearly that this is
I
lived
it's
been a consistent presence of
there's
less
American drama
PBS."
three
why
cent. That's
all
we
did was embraced, then
we wouldn't be funding
the right things. We're pushing the envelope."
A fiction
writer
and
arts journalist
who has
published
in
such magazines as
Us, Penthouse, the Indiana Review, and Filmmaker, Gabrielle

the
Sundance
January/February
Institute's first
2001
Writer
in
Idlet
was
Residence.
THE INDEPENDENT
43
1
Are you also involved
SHOOTING GALLERY ENTERTAINMENT
We
LlSSA GlBBS
BY
co-production or co-
in
financing of works?
produce and acquire pictures.
We
also co-pro-
duce productions such as the award-winning You
Can Count on Me, which we produced
^n
^M
Ck
*r*
Chairman
of
Shooting Gallery
~2%M_
* 1
Shooting Gallery Entertainment,
Sharp
Entertainment,
609 Greenwich
Comes
to the
St.,
Entertainment
New
Larry Meistrich
Shooting
(r)
York,
Fortis Films.
NY 10014;
with Hart
and the upcoming Love
Executioner with Sandra Bullock's
We
are co-producing a Sun Records
(212) 905-2001; fax: 905-1789;
documentary with Middle Fork Productions and
www.shootinggallery.com;
WNET/New
York's
American Masters
series.
Gallery Films
contact: Larry Meistrich,
President
Where do Shooting
Chairman/CEO
Eamonn Bowles.
Ji
What
At the top markets that reach the target audi-
What types
Shooting Gallery Entertainment?
is
Shooting Gallery Entertainment
a film, TV, music,
is
we
try to distribute
in
Shooting Gallery Entertainment?

generic
Shooting
Stephen
Entertainment
Gallery
Meistrich
Larry
includes:
(President);
Carlis
(President,
What
Eamonn
While everything
Bowles
Kane
and
Phil
needed
that
is
to get
we have
ultimately a business decision,
appeals
film
driving force. So
Carson (President, Shooting Gallery Music).

of
drives you to distribute the films you do?
whether the
much
many
and commitment are
these films
to be inspired by
in
order to do
More than 100.

is
How, when, and

Entertainment
of
to us personally is the
effort
employees:
moting
why
come
did
film
was
Shooting Gallery Entertainment
a tough business
make money, but
Shooting Gallery
into being?
we
In
1999 you began distributing a package
films twice a year.
really
it
the best
off
the ground
what we're
way we
pro-
can. This
and there are easier ways
to
the rewards for success with a
care about are pretty incomparable.
ly
filmmakers and other
their stories. Since
is
all
media including
film, TV,
and music
terms
in
to
week nationwide
production.
We've
roughly 100 projects for film, TV, and
commer-
Gun
for Hire
and other service operations
Shooting Gallery, see
of
The
run
To inspire artistic expression
and act as a creative
did you start distributing films other
vital
is
runs.
today's incredibly
in
12 films a year
Shooting Gallery's latest
Johnson and
in
program
this
six in the spring series
the
We
fall.
with
and
six in
also have output deals
Blockbuster
video
and
Horses.
Starz/Encore cable for these films.
The exciting thing about
program
is
that
we
this
whole
get to release a
films that would never have
have only been distributing since 1998 and our
Went Down, was our
THE INDEPENDENT
have
been
to
get theatrical
some
and
among
of
them
the
best
first
acquisi-
in
the case of Croupier, one of the big
commercial specialized
tion.
44
two-week
reviewed films of the year, and,
than the ones you produced?
is
be able to support them with a substantial ad
distribution,
developer, producer, and distributor.
We
at
11.]
Unofficial motto or driving philosophy:
third release,
cities
we have
This allows us to take a chance on great films and
had the chance
When
16
in
big plus
for the advertising costs of these
lot of
p.
then give the films a two
that we've secured corporate sponsorship to pay
of
cial/music video. [For a story on the acquisition of
is
basical-
crowded marketplace. We release
films: Julie
produced
We
theatrical
Loews Cineplex Theatres. The
A Time for Drunken
development and
the
we do
acquire high quality films that for whatever
atrical distribution.
artists could tell
1990 we have transformed
you're referring to
of films
reasons have not gotten satisfactory deals for the-
the simple purpose of providing production opportunities, so
this
Shooting Gallery Film Series. What
campaign, which
started for
of
Can you describe how
works?
The package
(Chairman/CEO);
Shooting Gallery Films); Josh
number
stuff.
management
(President, Shooting Gallery Television);
Total
possible,
an audience. We're not too interested
with
is
much as
Well, as
ences.
works do you distribute?
of
films that have a point of view that can connect
development/production/distribution company.
Who
generally
Gallery titles
show?
hits of the
year.
What happens
if
one
of those
3e
<->
films
especially popular with audiences?
is
it
held over?
If
the film
over,
every film we've released
works,
we have
the market
two-week
expanded, and opened
happened
This has
cities.
Range
of production
budgets of
titles in
your
collection:
well received in the
is
can be held
Is
some
to
it
other
extent with
the series.
in
run,
in
The amount
it
costs to create art
in
it
as
much
as
there
ing
life
has
been
no
change.
entire professional
never thought
markets with specialized releases through our
What would people be most surprised

about your company or
tives are
to learn
founders?
its
macho
That inside our
exteriors
yearning to be free (not
(below) Edie Falco and Aaron
my
dedicated
I've
to creating Shooting Gallery, I've
about doing something else.
Changes revolve around growing and now reach-
will bear.
you weren't distributing films, what would
Considering
recent years:
Philosophically,
the ability to expand
irrelevant.
is
Biggest change at Shooting Gallery Entertain-
ment
If
you be doing?
the film
If
is
girl
little
That our execu-
really).
accomplished ballroom dancers.
all
Harnick in Eric
Mendelsohn's Judy Berlin, which kicked
Other distributors that you admire and why:

off
Shooting Gallery's successful screening series.
Strand Releasing and Sony Pictures Classics have
From Croupier, Shooting Gallery's summer
remained very focused on creative and
2000 series breakthrough success.
successful business models.
The best film you've seen

A Time
was
lately
Drunken Horses
for
it's truly
fit it
into
an amaz-
ing film.
What's
the
between
difference
Shooting
Gallery and other distributors of independent

films?
The one thing
about
really like
this place is that
we're open minded and receptive to ideas that
make
sense. There
no calcified path to follow-
is
each individual
just what's right for
film.
think
we've got a good track record (and our Film Series

is
emblematic
ways around the

If
and
filmmakers
you've
distributed
through this series:

Julie
Johnson, starring
Bahman Ghobadi's A Time
Horses
International
Film
(Camera
Me
Lonergan's You Can Count on

Prize
& Waldo
It's
Gallery Entertainment today
Mendelsohn's
Eric
maintaining
artistic integrity
is
Upcoming
and high quality
in
an
ever-competitive marketplace.
(Grand Jury
2001
Mike Hodges' Croupier-,
Judy
Berlin-,
Billy
Where
will
Shooting Gallery Entertainment be
According
to
Taylor
is
in
pro-
and how should
filmmakers approach you for consideration?
our lease: 609 Greenwich Street.
What's your basic approach
mostly find them at major film festivals, but
to
releasing a
of
from a steady diet
tapes that
we
Because we're covering the world's output
cinema with a very
it's
of
limited, yet
devoted
building from there. The hardest thing to do
sions, unless they arrive with
recommendations
tangible selling elements.
simply a question of
in
the day.
Became A Woman.
of
we
Eureka, The
Trudy.
The future
is
of
independent film distribution
is
or
bleak
in
one that
releasing films, but
Sometimes we put
as broadband develops
and we can't keep
the public away. But often our best efforts are on

it's
in
last
on. That's
reassured
me
complex,
for
that there
summer, and
still is
bright further
it
down because
change everything
will
FAQ
profiles a wide range of distribu-
what hapit
independent film and
kind of
suggestions
ence
is
niche and specialized marketplaces.
tors of
pened with Croupier
doubly rewarding
Distributor
when something catches
the short term because of the cost of
Best distribution experience you've had lately:

a film out
in
get
to Lissa Gibbs.
a substantial audi-
304 Hudson
challenging,
unsentimental
an email
to
St..
ft.
New
video.
co
York.
Send
profile
The Independent.
NY 10013:
or drop
[email protected].
films that don't have big stars or marketing budLissa Gibbs
gets that could feed the world's poor.
hours
Lili
and directed by Frank Novak. As part
this country
staff,
very hard to process the unsolicited submis-
It's
starring
Burning Man, The Last Resort and When Brendan
Met
things that don't work, so

out. Also,
Bob Gosse, written by
Securing a core constituency for the film and
basically wherever films are screened, we'll check
solicit.
for:
the Spring 2001 season of the Film Series,
is
them
not a charity.
the arts.
and Courtney Love. Better Housekeeping,
a film off the ground.
We
watch
titles to
Julie Johnson, directed by
written
10 years from now?
duction for both television and theatrical releases.

find your titles
Wendy Hammond and Bob Gosse.
title?
Where do you
in
is
Bob
Thornton's Sling Blade-, and Bruce Sinofsky's Sun
Records documentary, which currently
to
for
Kenneth
Salt Screenwriting Award,

Festival);
would be
the business of being
have The Day
Sundance Film
it
Cannes
d'Or,
2001);
Festival
advice
bit of
do your homework. This industry
Lili
Taylor and Courtney Love; Frank Novak's Better
Drunken
Loews Cineplex Entertainment.
The most important issue facing Shooting
Bob Gosse's upcoming
Housekeeping;
with
film series
hurdles.
you could only give independent filmmakers
one
Films
coming up with smart
of this) of
is
a contributing editor
to
The independent and former Film Arts Foundation

Fest
January/February
AVI
director.
THE INDEPENDENT
45
ECHO LAKE
worked
producer
for a
who helped
named Michael Nesmith
and Tape Heads. Before that
CHELLE COE
Repo Man
finance indie films such as

I
founded a compa-
ny called Yearlook/Camp TV that produces videos
What types
do you seek?
of projects
producing and financing projects, the
For both
and the director are
script
we
crucial. Ultimately,
are looking for projects that have the potential for

theatrical release. At our budget range, that usually
Echo Lake Productions, LLC,
213 Rose
2nd
Av.,
CA 90291;
Venice,
fl.,
means an arthouse
based
Doug
on
underlying
or niche release. Projects
material
such as plays,
books, or old films often catch our attention.
(310) 399-9164; fax: 399-9278;
Mankoff,
Are there any restrictions or qualifications
[email protected];
President
requirements?
Doug Mankoff, President,
Mark Dempsey,
It
Director of Development
certainly helps
before, but
project
What
Echo Lake Productions?
is
Echo Lake
is
a film fund for
indepen
ness
dent features. At the moment, Echo
opposed
are two
There
taries.
company: the financing

an
like
sides
side,
serving
needs
who
agent
sales
which acts
International
film
perspectives.
both
Columbia
for
ECHO LAKE
production company and film
ODUCTtONS
Fund
for
the
TriStar
and Entertain-
ment
the
back-
examine
to
Television
aggressive
entertainment
bank,
from
school
film
try
have both busi-
Peter Wetherell used to be a foreign
the
to
so
financing
documen-
to
and
school
grounds,
Lake only finances and produces narrative films, as
and camps.
for schools
Licensing
in
Germany.
independents
lack
some
jects that the
or
and
of their financing;
all
sion of the
did
Echo Lake come
company
to help
is
make
Productions
to three.
is
1997 by
How many
The mis-
inception?
in
films that
projects have you funded since your
What have been the
distribution/
exhibition paths of those projects?
in
films
that banks were investing
in
was
Our
money we
the completion
risk.
in
to take
through Zeitgeist Films and recently aired on
films.
Banks
stations across the country.
on more
risk
La Ciudad
set
up
to
be
somewhat
Echo Lake has provided financing
A Dog of Flanders, which got a
mutual funds.
We
release
two years ago through Warner
ture from Allison Anders that
the staff of Echo Lake Productions?

our foreign sales consultant and
helps us evaluate projects from a financial per-
Mark Dempsey
is
wide the-
and Things Behind the Sun, the new fea-
films that are about things that matter.
is
we co-financed
with
Sidekick Entertainment, a similar fund based here

in
LA.
What
is
the estimated dollar
amount per pro-
our director of develject (loaned
opment and helps us evaluate
and invested)?
projects from a cre-
Usually between $500,000 and $1,000,000. This

ative perspective.
The company has a long-stand-
amount can
often
provide the crucial
missing
ing relationship with producer Robin Alper (Things
piece for films with budgets of up to $4,000,000.
Beneath the
Sun-,
La Ciudad), who steers a
lot of
How many submissions do you
interesting projects our way.
Out of those, how
The company
is
we
to
ments
to
a smaller
summary
first in
company, we need
should read the whole script.
more about the
learn
(director
want us
to
duction) or
come
is
We
we
in
also
project's attach-
and cast) and the budget
determine whether
to
order to determine whether
in
order
should consider the pro-
Does the producer
and produce the project (pro-
the producer looking
more
for
an
executive producer, a financier (financing)? Our
relatively young;
what were
In
Of those,
THE INDEPENDENT
receive annually?
invest in?
1999 we received roughly 1,200 submissions.
you and Peter doing before you founded Echo
Lake?
many do you
we
invested
money
in
investors also require that
we
get release forms
signed by the writer, even for summaries, unless

the project
is
submitted by a qualified producer,
agent, or attorney.
for include
only invest
Bros.,
Peter Wetherell
pretty
like
atrical
socially responsible
continue to
to foreign distributors. Other pro-
than banks would

jects
is
We
decided to raise a fund
take and to charge slightly more for that increased
The fund
last
smart way.
PBS
avoid
Because we're
ject for production or financing.

to date.
Echo Lake
sell
46
producers approach you year
or can
lines
possible to invest
spective.
Does your funding cycle include hard dead-
or not
which enjoyed a limited arthouse release run
is
with
Z-grade
rather than your local theater.
need
fall
Who
Projects
directed.
a producer submit a project to you?
provided for David Riker's The City (La Ciudad),
in
porn.
not yet
genre films that seem destined for the video shelf
see a
biggest success
The driving philosophy behind
risk.
who have
How does
Echo Lake has funded seven features
designed
Documentaries, animation,
directors
do you fund, both as
into being?
matter.
saw
defi-
is fine.
help finance.
will
(Doug Mankoff) founded the company
would Echo Lake
Year round
investments and as loans, on average each
raising the fund from private investors.
typically
of projects
fund?
nitely not
projects
the'
Two
is
What types
..
How many
company
When and why
it
that their
producers
of
year?
that
is
worthy.
is
round?
producing side, which options and develops pro-
the producer has produced
if
not essential. The key
is
it
only four.
Do you look
at all projects first as possible
investments and then offer loan financing to

those that appeal to you but which you decid-
AVID
out right
try to figure
ducer
whoever
(or
away whether the
pro-
in
submitting the project) wants
is
If
we choose
not to produce
we
project submitted to the production side,
may
evaluate
Who
later
charge
in
is
it
as a possible loan.
oversee both divisions,
on the input
rely
and Mark
of Peter Wetherell for the financing side
Dempsey
AVID 1000/AVR77
AVID 800 Film Composer
NON LINEAR /LINEAR
of the production division?
The financing division?

While
mid-town
24 hr building
us to consider the project for our production side

or our financing side.
As lonfi-fime
AlvT members
If
in
us a
we
like
the
little
the
summary
company
will
into
read the script.
we
^producers and
EXCELLENT RATES
EXPERIENCED EDITORS
editors >^
SOHO/CHINATOWN LOCATION
MASTER & VISA ACCEPTED
Our
rates are
competitive
(21 2)-21
9-9240
these decisions?
how we
feel
try to
a lot of consideration
about the story and about the

imagine what kind
film will garner. Like
reviews the
of
most banks, we then take a
hard look at the numbers
what we expect the
film will sell for in the various territories.
consider
to help
decide
to
at the proposed budget.
most banks, we put
We
is
there are
If
numbers
run
the financing decisions based upon?
Who makes
director.
someone
or the pitch, then
makes sense
it
What are
Unlike
other independent
about the review process.
attachments, then
whether
OFF LINE /ON LINE

BETA SP, DV EDITING
DV, HI8, _ SP, INTERFORMAT
CD-ROM OUTPUT
for the production side.
our goal
Tell
large rooms
with a view
ed not to invest in?
We
rental
who
is
involved
We
DIVA
EMAIL:
Edit
[email protected]
1-800-324-AVID
330 W 42nd St NYC
also
and whether we can
ACCEPT OR EXCEPT? AFFECT OR EFFECT? THAN OR THEN?
count on them.
Echo Lake's loan financing division offers

three types of loans: bridge loans, gap loans,
and completion loans.
define these
Briefly
options.
canyoupre3tthis.com
professional proofreading and formatting
Bridge loans are for the unfortunate (but not rare)
producer who has lined up financing, but that

not flow
in
time for production to occur.
situations,
Echo
bridge loan.
Gap loans are loans that have as
lateral
unsold
Lake
provides
territories. For
an
interim
have pre-sales
to
col-
Italy,
German, and Spain
is
banks
of
up
to
20%
It
that
Most
of the film's
will
do gap
are
than this amount.
Your
script
won't
get
past
studio
a
executive's trash can if your format and
spelling aren't up to snuff.
Trust your
masterpiece to experienced industry experts...
We'll worry about the form, so you can focus
on the content
who
we
(323) 662-0297
higher
Com-
pletion loans are finish-
ing funds that
producers
But wait!
certain cases,
Echo Lake
loans
gap.
do gap loans
will
budget.
remaining
the
the
They're... their... there now!

Had all the script consulting you
can take? Ready to submit?
for
totaling half the
budget;
half
or
may
example, a film
amounts
will
these
In
lend to
[email protected]
www.canyouproofthis.com
Everything your computer spell-check misses.
are at the
Ataaboc, LLC
rough-cut stage.
COMPLEMENT OR COMPLIMENT? PEDDLE OR PEDAL?

What
are
the
basic
Januan February
THE INDEPENDENT
47
"N
Call for Entry
financing companies?
Our interest
that
stories
in
about things
are
Most com-
that matter.
panies look primarily at

the bottom
producers, how do you
Film Festival
Celebrate Your Independents
PRESENTED BY
t>FGAL
cinemas'*
JUNE
recommend they
learn
more
their
about
financing options?
We
6-10, 2001
talk
will
who has
December 1 5th
Early Deadline:
Official Deadline:
terms
February 28th 2001
Fees
these loans?
of
each
for
15-20%.
run
Entry Fees: $10.00-$50.00
Depending on the
Over $10,000
end or deferred fees. For bridge loans, we are paid
Workshops, Parties, Expo
ft
situation,
we may
require back-
back by the bank providing the production financ-
Academy Award "Qualifying For

Shorts
Cash Prizes
ing.
Animations
For gap loans,
we
are usually repaid within a
year or 18 months. Finishing funds are usually
Academy Award 3 Consideration Run For

Regal Cinemas NIFF Dreammaker Award
Winning Feature
provided
on a
we're the
first to
up by
first-out
last-in
meaning
basis,
be repaid once the film
picked
is
uctions.com. Your project does not have to be

ready.
general, producers can attend seminars
In
and conferences sponsored by

by
AFMA. There
entertainment attorneys
loaned funds must be used?
www.nashvillefilmfestival.org
[email protected]
Do you
searching for projects.
support
finding distribution, etc.) either
in
We
try
and
find sales agents
project
phase, can
Program
provide filmmakers
to
We
often help
distributors.
rejected
is
with
other words, they get the ben-
In
our experience and contacts.
efit of
in
the development
TALENT
if
we
liked the story. Certainly a
project can
change and become more
over time:
new
director
actors
or
attractive
might be
encourage producers
to
stay
touch with
in
We
us
about projects that have stories that intrigued us.
Harvestworks Digital Media Arts
Why
[2I2] 43I-II30
should producers turn to Echo Lake for
loan financing as opposed to a bank?
When Echo Lake

596 Broadway
harvestw
Suite
likes the story
given project,
bank, which
it
1-m^
V"
attributes that
committee
Digital
of a
can be more aggressive than a
means
it
against less collateral.

*/
$15
can provide more funds
regarding your position and
attached, which
allow us to
will
style decision-making.
like to
don't
mind as long as the project
to their
Finally,
do small loans (under $1
don't
Good summaries are a
make
a decision
rare thing.
truly
is
the story,
clearly relaying your project's storyline to us is

vitally
important.
What
is
common
the most
Sending us
mistake applicants
a project that
is
clearly not for us, be
the wrong sort of story or a budget that's beyond
our means.
What would people most be surprised

about Echo Lake and/or
Our
office
is
and has
its
to learn
founders?
above a bar called the Firehouse
Venice. This place
was featured
a killer five-egg
in
the film
in
Speed
omelet on the menu.
Other financing companies or grantmaking
Good
NewMarket
Machine,
Shooting Gallery,
Capital
Group,
because they get good
stuff
made.
banks
million).
We
Famous
last
words:
Don't give up on us
We
are
in
if
we pass on
a few projects.
this for the long haul.
Media Arts Center

is
worthy.
Michelle Coe
THE INDEPENDENT
the cover
in
who you have
and speed are
Flexibility
banks don't often have, due
What distinguishes Echo Lake from other
48
clearly not right
is
empty-headed teen sex
million
organizations you admire and why.
and director
602 inSoHo
dti.net/www.harvestworks.org
letter
it
attached, the budget might be lowered, etc.

y
(i.e.
make?
be re-submited later?
it
Yes, especially
for us
Since Echo Lake's primary concern
the production or distribution phases?
"smart money."
If
Interdisciplinary Certificate
sub-
sible.
AUDIO. VIDEO & INTERACTIVITY
in
tance, help
classes & tutorials
producers
funding sources, production equipment assis-
Absolutely.
leads on additional
(i.e.
for
mitting their cover letter and synopsis to you?
on the project as quickly and as efficiently as pos-
in
our library and at
in
comedy). Be as specific as you can
your loan-funded filmmakers any
offer
additional
in
in
of
And sales agents are always
Don't send us something that
Usually the funds are provided directly to the production and are used immediately.
umall
list
a distributor.
Are there time restrictions within which the
5)742-1004 fax
(61
AIVF has a
this sort of financing [Ed. note:
www.aivf.org.]
and
AIVF, the IFR
are attorneys that specialize
What advice do you have

(615)742-2500 phone
anyone
to
a quick ques-
contact@echolakeprod
tion or two: email us at
usually
type
In
emerging
those
For
Nashville Independent
line.
is
program director at
AIVF.
by
feature directors
Scott Castle
&
2 shorts directors
in
NYC.
listings do not constitute an endorsement.
recommend that you contact the
we
festival
directly before sending cassettes, as details
may change after the magazine goes to press,

deadline: 1st of the month two months prior
to cover date (march
for may issue). include
festival dates, categories, prizes, entry fees,
deadlines, formats & contact info. send to:
fest accepting films from other
Any
1st time.
Avignon,
goal
European filmmakers
for
This year's
in
35mm & 16mm.
ANYFF, Jerome
French-American Center,
New
York,
Henry
Rudes,
198 Ave.
Inc.,
General
of the
concepts
Dir.,
genres
Americas,
NY 10013; (212) 343-2675/011 33 490 25 93
10.
worldwide are invited to submit their work.
ARIZONA INTERNATIONAL FILM FESTIVAL,
NC
styles of animation shorts are accepted.
Animators
All
forms &
innovation
&
indie film
in
video. Cats
&
shorts, doc features
&
"The Silver Stars"
(for
Planet" (student award). Formats:
each
in
16mm, 35mm, VHS,
Formats:
&
Beta SP
3/4",
35mm, 16mm,
Tel/fax: (520)
$20 (student
project,
628-1737; [email protected];
Nordhoff
production. Each entry
short,
under 30
awarded
under 20 min.) Contact: CSIAF,
St.,
Northndge,
8300, CA State
Univ.,
Spirit of
18111
CA 91330; (818) 382-4545; am
CANYONLANDS FILM & VIDEO FESTIVAL
&
are welcomed. Awards: Cash prizes
narrative,
competition winners
fax:
334-5039; cfvf@
FESTIVAL,
&
dedicated to films
is
April
16,
videos one
be screened on [www.charged.com] 3
will
Cash
screening. Awards:
fest
three cats:
in
Grand
1)
Jury,
prizes
2) Audience, 3)
Charged. Formats: Beta SP VHS. Preview on
Ste. 362,
fax:
Nov. 1-4, UT.
New
York,
FF,
web
350 3rd
Daniel Falcone,
NY 10010; (212) 481-6605
VHS
site,
or
Ave.,
225;
x.
481-5450; [email protected]; www.60sff.com
CINE LAS AMERICAS,

Feb. 28 (late). Fest
of
in
3/4", VHS, Beta, Beta
based on pos-
change given special consideration. Cats: dramatic
&
S.
from
film
America, the Caribbean
the U.S. Any works by Latino filmmaker, writers, pro-
ducers & actors depicting Latino subject matter accepted.
regional issues, outdoor adventure, avant-garde/experi-
Works
mental, student-produced, comedy, animation. Awards:
English
Cash may be given
35mm, VHS.
be accepted
will
in
any languge;
for
works not
in
incl.
Formats:
to
winners
in
any category, amounts
SP Preview on VHS
16mm. Preview on VHS.
12-19, TX. Deadlines: Feb. 15;
feature/short, westerns, doc feature/short, southwestern
production services
each category,
April
showcases contemporary
diverse latin cultures such as
medium
the
& animation.
experimental
doc,
(NTSC), 3/4"
for-
under, any genre accepted as long as they're
presenting thought-provoking material, any genre which
itive
35mm, 16mm,
Fest
contact: Charged 60 Sec.
sen-
for artistic innovation,
& personal involvement w/
content
to
1.
Deadline: Feb. 28. Special consideration given to works
offers solutions, ideas &/or hopeful futures
awarded
stu-
all
cash & Kodak film
[NTSC]. No entry fee. Download entry form on
possibilities in film/video
pre-screened by a committee
is
Works w/ high regard
sitivity to
in
in all
&
OH. Deadline: Feb. 14. 28th annual test
5,
acknowledging current technical
artists.
&
Films accepted
[email protected]; www.csun.edu/ animat
ATHENS INTERNATIONAL FILM AND VIDEO FESTIVAL,

27-May
334-4197;
(336)
weeks before the
www.azstarnet.com/~azmac
April
originating on
$3,000
min.);
Attn: Jack Reilly, Dept. of Art
85702;
Beta,
Box 431, Tucson, AZ
over). Contact AIFF,
accepts work
digital
min.);
$50 (45 min. &
exam-
clever, funny, or weird. Especially interested in animation.
Preview on VHS. Entry fees: $30 (inde-
pendent short, under 20 min.); $50 (studio
$30 (under 45
Continuing
16mm, Beta SP VHS. Preview on VHS
cat.
3/4", 1/2", digital.
video. Preview on VHS. Entry fees:
27402;
minute
each cat) & "The Bronze
shorts, exper-
imental, and animation shorts. Awards: Best
incl.
of the fest),
narrative features
&
of all lengths
of
r^
personal vision.
cats, incl. animation, doc, exp., narrative
Deadline: April
by panel of top industry pros; "The Golden Sun" (cash-best
&
& move beyond conventional
CHARGED 60 SECOND FILM
Awards: selected
AZ. Deadline: Feb. 12. 10th annual premier test celebrates
excellence
uncg.edu; www.uncg.edu/bcn/cfvf
19-29,
April
/*.
Dahron Johnson; 205 Brown Building, UNCG, Greensboro,
March 23-24. CA. Deadline: Feb.
VAL,
&
f-
(NTSC). Entry fees: $30 (student); $40. Contact: CFVF.
CALIFORNIA SUN INTERNATIONAL ANIMATION FESTI-
Domestic
t*
"Virtual Noir," inviting artists to
of the film noir genre. Fest
&
stock. Formats:
www.avignonfilmfest.com
[email protected]
theme
of ind. artistry
mats accepted. Awards
www.francetelecomna.com;
[email protected];
works
dent short. Projects
343-1849/33 490 25 93 24; [email protected];
23; fax:
to exhibit
ine the darker side of reality
Preview on VHS (NTSC, PA1 or SECAM). Entry fee: $25.

Contact:
is
r^
at Greensboro.
University of North Carolina
w/
Formats:
style or genre.
In
prizes
3 winning feature directors share $80,000
=-* j-j
subtitles
are
16mm,
recommended. Formats:
Preview on VHS. Entry fee: $10; $30
(late).
Entry fees: $35,
plus s.a.s.e./insurance. Contact: AIFVF, Athens Center for

Film
&
Rm. 407, 75 W. Union
Video, Box 388,
St.,
OH 45701;
(740) 593-1330; fax: 597-2560;
ohiou.edu;
www.athensfest.org
CAROLINA PANTHEON
Athens,
bradley@
Celebrating
Carolina
ATLANTA FILM & VIDEO FESTIVAL, June 8-16, GA.

Deadline: Feb.
celebrating 25th anniversary,
Fest,
2.
showcases the most
&
original
innovative works by
touts
m.
incl.
panel discussions
nars, educational
ances
film
&
Beta
35mm, 16mm,
SP.
Preview
Dir.,
Contact:
GA 30309;
equip, rental.
8mm,
Beta,
fees:
$40
1/2", S-8,
VHS.
add $5
AFVF,
IMAGE Film/Video
Atlanta,
&
cash
Entry
352-4254;
May
18. 7th
NYC
St., Ste.
fax:
and entrapment.
artistry
April
and personal vision
&
fund-raising work; Non-cash
given. Formats:
16-22, NY.
35mm, 16mm,
3/4", 1/2".
total
&
Its
continuing goal
is
to exhibit
1,
France. Deadline:
the American version of the
fetes.
$80,000
Audience vote decides

in
to a local audience. See
works
of
listing.
prizes to 2 winning
Contact: Cine Las Americas,
2215 Post
Rd.. Ste.
2056.
Preview on VHS. Entry fees: $30 (35mm); $25 (other for-
Main
St. Ste.
#214, Moab, UT 84532;
CLEARWATER INTERNATIONAL FILM FESTIVAL, March

23-29, FL. Deadline: Feb. 23. Fest
(435) 259-9868;
[email protected]; www.moab-utah.com/film/
length, shorts
entertain
video/festival. html
4 winners; awards
such films have
Austin, TX 78704.
French film premieres, retrospectives,
VIP encounters, seminars
Historically,
independent and commercial filmmakers since the debut of
mats); $20 (student). Contact: CFVF, Nicholas Brown, 59

26-July
is
of this year's fest is "Virtual
which explore the dark and haunting visual
for entries to high school students.
awards may be
S.
&
The theme
international
Nl,
RECONTRES CINEMATOGRAPHIQUES
spring fest
as the "largest, oldest,
352-0173;
18-year-old Avignon Film Fest. Both events feature top

line-up of U.S.
its call
independent
determined by ticket sales
AVIGNON/NEW YORK FILM FESTIVAL,

EURO-AMERICAINES, June
Video Festival
the film noir genre after the Second World War. This year's fest has also expanded
Genevieve McGillicuddy, Fest
[email protected]; www.imagefv.org
Deadline: Feb. 23.
itself
&
for foreign. Appl. avail,
Center, 75 Bennett
(404)
festival is seeking films
forcefully influenced
$30 (IMAGE members/students);
(distrib./for profit);
on-line.
3/4",
on
(individual/nonprofit);
$50
in
and the
style with narratives of desperation
video professionals. Cats: Any style or
genre. Awards: Over $65,000
Formats:
Noir,"
& guest appear-
Film
and most prestigious
film festival in the Southeastern U.S."
premiere
screenings of award-winning works, informative semi-
11th anniversary, The
today's best independent media makers and highlights
past works from previous festivals. Fest
its
&
& docs and
is
seeking feature
accepting films that educate,
enlighten for various cats: children/family,
action adventure, drama, comedy, mystery/suspense, sci-
CAROLINA FILM AND VIDEO FESTIVAL. March 14-17,
fi/fantasy
NC.
16mm, DVD. 35mm, VHS. Preview on VHS.
Deadline:
Jan.
31.
11th
annual fest held at the
&
foreign
January/February
AVI
(subtitled
or in
English).
Formats:
Entry fees:
THE INDEPENDENT
$25
49
$35 (docs); $50
(shorts);
St.
3317;
443-6753;
fax:
(features). Contact: CIFF,
411
Clearwater, FL 33755; (727) 442-
#262,
Cleveland
March 23
(early);
&
seminars,
animation),
student competition,
midnight
movies,
&
special
celebrations
each
tests
shorts to an audience of over 140.000
which presentation
in
one
year. Fest is
American
of five N.
w/out
will qualify a film
film
distri-
for
Emerging
bution for submission to the Independent Spirit Awards.

Fest hosts a competition for Best American Ind. Film, Best
cats:
in
must have
Jury Awards. Entries for competition
must be 50 mm.
&
short doc, feature doc
feature doc.
New
Director
(Int'l)
& Best
Short Film
addition to the
in
Awards.
Fest"
35mm, 16mm, VHS.
Formats:
audience-based Golden Space Needle Awards given
&
cats of feature film, director, actress, actor, doc
16mm, 35mm &
Formats:
in
shorts.
Beta. Preview on VHS. Entry
Special Jury
incl.
Awards, Audience Award, Cinematography Award & Grand
U.S. funding. Features
showcase
is
Awards: Emerging Filmmaker awards & Audience "Best

of the
Awards
guests. Cats: feature, short, doc.
51%
& 80+
filmgoers
U.S. indie films (narrative,
short fiction,
Florida
features
self-distributed,
relevant themes.
politically
filmmakers; entries are selected by a jury
ind.
experimental,
than any other
predominantly foreign,
10th anniversary of this 10-
(late).
day event featuring foreign
is
FL. Deadline: Feb.
filmmakers section
23
MN
ind. films to
Program
event.
or
those w/
cially
FLORIDA FILM FESTIVAL, June 8-17,
& American
foreign
org.
focusing on Scandinavian & Eastern Europe films, espe-
www.clearwaterfilmfestival.com
more
film
Preview on VHS. Entry fee: $35 (shorts, under 40 min.);
fees:
$50
(50 min. or more). Contact: SIFF, Cinema Seattle, 911 Pine
MSPIFF,
Contact:
(features).
Film
Univ.
Society,
$25 (20 min.
or less);
$35 (21 min.
49
to
$50
min.);
at least
2331
MN
Univ. Ave. SE, Ste. 130B, Minneapolis,
55414;
Ste. 607, Seattle,
St.,
WA
98101; (206) 464-5830;
fax:
or more. Fest
(612) 627-4431;
fax:
264-7919; [email protected]; www.seattlefilm.com
also sponsors several curated sidebars, special events,
www.ufilm.org
seminars & receptions. Formats: 35mm, 16mm, 3/4",

Preview on VHS. Entry fees: $15-30. Contact:
1/2".
Matthew
Program
Curtis,
FFF,
Enzian Theatre, 1300
Dir.,
S.
SHORT ATTENTION SPAN FILM
NEW YORK VIDEO

10th annual
Orlando Ave., Maitland, FL 32571; (407) 629-1088; fax:
ation
(407) 629-6870; [email protected]; www.enzian.org
forms
FESTIVAL.
electronic arts fest presented
int'l
plat-
to
art,
doc,
any length
be considered: video
will
(CD-ROM,
interactive
etc.).
All
Jan. 12. 4th annual fest
is
be projected
will
the
in
Society's
Film
contempory
to feature independently
produced works
travel-
entries accepted
in all
showcase
U.S.
traveling
& Canada.
Cats:
non-commercial categories: narra-
experimental, animation, etc. Awards: Cash Prizes;
tive,
Show
Best of
($2,500), Best Animation ($1,000), Audience
Choice ($1,000). Formats preview: VHS.
produced
originally
&
rials
& about
of
video/computer. Average of 40
in
w/
s.a.s.e.
No entry
entries.
press mate-
Incl.
SASFVF
fee. Contact:
Dreamspan, Entry Coordinator, 1615 Montana
c/o
Ave.,
particular focus on productions depicting cur-
works presented
rent social issues
& animation.
14 programs; coverage
in
NY Times &
in
Santa Monica, CA 90403; (310) 260-1551;
260-1533;
fax:
accepts features, docs,
Ireland. Fest
in
Village Voice,
shorts
work must be
All
and/or postproduced
w/
Ireland
venues throughout the
filmmaking & contin-
Irish
egories or awards.
ues
15+
devoted to showWalter Reade Theater at Lincoln Center. There are no cat-
ing the very best in
&
April
FESTIVAL, March 6-11,

videos chosen
WA. Deadline:
shorts (2 min. or less) for spring 2001
&
Festival 2000. All genres
of
FESTIVAL,
Deadline: Feb. 15. 9th annual touring fest seeks short
ing.
associ-
in
w/ Lincoln Center
computer animation,
AND VIDEO
IRISH REELS FILM
NY Deadline: March.
July,
&
as well as out-of-town
coverage.
int'l
[email protected]; www.shortspan.com
Films must have been written, direct-
Submitted works should be recent (w/in past two years);

ed or produced by an
filmmaker working
Irish
USA FILM FESTIVAL,
Ireland or
in
NY premieres
35mm, 16mm,
abroad. Formats:
ROM,
VHS (NTSC
or PAL). Entry fees:
IRFVF,
13;
digital.
Preview on 3/4", 1/2" (NTSC, PAL),
CD-ROM
Do not submit preview
in
Beta.
ture
No entry
site.
New
70 Lincoln Center Plaza,
10023; (212) 875-5638;
fax:
&
new
video
$1,000 prizes
incl.
significant
work.
U.S.
for narrative, nonfiction,
anima-
Deadline: Feb.
April, NY.
6th
1.
&
$250
exp. plus
Jury Awards. Formats:
3/4", 1/2". Preview on VHS.
No
35mm, 16mm,
entry fee. Contact:
abstract
in
&
USAFR
Alonso Duralde, 2917 Swiss Ave., Dallas, TX 75204; (214)
doc & experimental work accepted.

non-narrative electronic motion imaging,
Awards: Ten student winners
in
conjunction
821-3456;
fax:
821-6364; www.usafilmfestival.com
each receive: $1,000,
will
w/ music/sound
NYC & 2-night/3-day
to
films,
filmmakers. Short film
filmlinc.com; www.filmlinc.com
annual fest invites media artists working
trip
new
premieres of
diversity of the current student genera-
tion. Cats: narrative,
round
& Video Competition &
Film
incl.
showcases new &
sbensman@
875-5636;
tion
&
under 60 min.).
that reflect the
NOT STILL ART FESTIVAL,

vision, energy
Short
& emerging
ind.
competition
& new media
video
film,
of
Deadlines: Feb.
NY
York,
Awards
3rd annual fest seeks submissions from student
3, TX.
(shorts,
Contact: NYVF, Film Society of
fee.
works from
Lincoln Center,
15.
Nat'l
section;
KidFilm. Feature section
web
makers
March 2
tapes not returned. Entry form can be printed from
events/irishreels/
4-6, NY. Deadline: Feb.
26-May
April
min.);
Do not send mas-
98107; (206) 682-
[email protected]; www.911media.org/
MAKING WAVES FESTIVAL, May
60+
28 (features,
31st annual fest has 3 major sections: noncompetitive featers;
x.
SP CD-
911 Media Arts

(for PC).
WA
Center, 117 Yale Ave, N., Seattle,
6552
preferred. Formats: 1/2", 3/4", Beta
Beta, DVD. Preview on
hotel
XICANINDIE FILM FESTIVAL,
Pieces
stay.
min.
must be under 60 min. & produced
design, to submit programs under 10
in
length. Fest
interested
is
in
work made w/
April 6-8, CO. Deadline: Feb.
all
16 (postmark). 3rd annual fest offers an open
or directed by a stu-
call to all
technologies, the primary criterion being the aesthetic of
dent enrolled
in
an
program
accredited
independent Chicano/Latino media
study.
of
the electronic screen. Screenings will tour
16mm, VHS,
Formats:
3/4",
Beta,
CD-ROM, URL.
&
whose work
artists
be broadbrazenly challenges the dominant Hollywood paradigm
cast.
Preview on VHS, floppy disks, Zip disks, CD-ROM, URL.
Formats & preview: 3/4", Hi-8, S-VHS. Entry
in
fee:
terms
of content
&
execution. Criteria for selection are
$25. Contact: NSAF, Box 496, Cherry Valley, NY 13320;

Entry fee:
$10 (payable
to:
Hunter College Nat'l Student
Fest).
Contact: MWF, Hunter College, Dept. of Film
&
originality
(607)
fax:
264-3476;
resourcefulness. Cats: animation, doc, exper-
[email protected];
&
imental
&
narrative (feature or short). Prizes awarded.
www.improvart.com/nsa/
Media Studies, Peggy Dale, Fest
433N,
New
NY
York,
695 Park
Dir.,
Rm.
Formats:
772-4846;
SAN FRANCISCO INTERNATIONAL LESBIAN & GAY FILM
$5,
www.makingwaves
FESTIVAL. June 14-24, CA. Deadlines: Jan. 24; Feb. 7
Salazar,
10021;
(212)
[email protected];
Ave.,
festival.com
(late).
MIAMI GAY AND LESBIAN FILM FESTIVAL,
One
of world's largest, with
and oldest events

April
FL.
work
Deadline: Jan. 12. 3rd annual fest
& formats
of all genres, lengths
experimental works,
about &/or
by,
incl.
is
of
75,000,
of its kind, fest is celebrating it's
25th
s.a.s.e.
El
80216;
for
video. Preview on VHS. Entry fee:
tape return. Contact: XFF,
Centra Su Teatro, 4725 High
296-0219;
(303)
St.,
Daniel
Denver,
CO
[email protected];
www.suteatro.org
27-May
anniversary.
6,
an audience
35mm, 16mm,
incl.
Many works premiered
in
fest go on to be
looking for
dramatic, doc
programmed
or distributed nat'lly
accepted
preview
&
int'lly.
Rough-cuts
&
for
if
Foreign
submitted on 1/2". Entries must
BANFF TELEVISION FESTIVAL, June
of interest to lesbian,
10-15,
Canada.
be SF Bay Area premieres. Awards: Frameline Award,

gay, bisexual
& transgendered communities. Last
Deadline: Feb. 19. Fest blends two components: a confer-
year's
Audience Award.
fest
drew audiences
of
Dockers
Khakis
Feature
1st
Award
over 7,000, w/ films screened from
ence
for industry pros
w/ important resource people & an
($10,000). Fest produced by Frameline, nonprofit arts
around the world. Works
awards given
in
numerous
must be Miami premieres;

categories. Formats:
16mm &
organization
& gay media
lesbian
35mm, 16mm,
Beta, 1/2". Entry fees: $20;
#147, Miami Beach, FL 33139;
Contact:
SFILGFF.
fax:
Jennifer
Morris,
which
to
tion
St.,
continuing series; history
861-1404;
fax:
in
14 categories: anima-
programs; arts docs; children's programs; comedies;
San Francisco, CA 94103; (415)
703-8650;
develop business rela-
program competition which awards
Co-Director.
(305)
Frameline, 346 9th
534-9924;
int'l
the coveted Banff Rockie Awards

(late).
Rd.,
& an
$35
Preview on VHS. Entry fee: $35. Contact: MGLFF,
1521 Alton
in
arts.
tionships
Formats:
35mm.
dedicated to
informal environment
& biography programs:
info pro-
[email protected];
www.miamigaylesbianfilm.com
grams;
made-for-TV-movies;
mini-series:
performance
www.frameline.org
MINNEAPOLIS/ST. PAUL INTERNATIONAL FILM FESTIVAL. April 6-21, MN. Deadline: Feb.
1.
19th annual fest
programs; popular science
SEATTLE INTERNATIONAL FILM FESTIVAL, May 24-June
in
the Upper Midwest, bringing
THE INDEPENDENT
&
political
&
natural history; short dra-
docs; sports programs. Entries
WA. Deadline: March
1.
Founded
in
1974, SIFF
is
the
originally in English or French
must have
their
TV premiere
in
largest film festival
50
social
is
17,
the largest film event
mas;
in
the U.S., presenting
more than 200
after
March
of
the
preceding
yr.
There are also "on
demand" screening
submitted
or
Producers
TV programs
facilities for all
the
to
test,
out
or
in
programs judged best
of
receive a "Rockie"
Award
invited
competition.
of
the 14 cats
in
will
sculpture. Other prizes include:
Global TV Grand Prize, $50,000 cash prize for program
NHK
judged best of the 2001 Competition;
$25,000 cash
Prize,
two $20,000 awards
Canadian Prod'n
in
&
be accepted
ings, entries will
French.
in
NTSC standard &
the
& Betacam SR
ed on Betacam
Best Independent
for the
English
in
entries should be
VHS
U.S. or
ated
Canadian
appearance
be req. for those
$250 (payable
1P6;
(403)
678-9265;
simultaneous
or
prior
Banff TV
Contact:
Canmore,
Ave.,
content cre-
(original
medium).
another
in
1516 Railway
Festival,
T1W
w/ no
web-casting,
for
$100
dollars);
be accept-
(PAL, low band only)
will
entries selected as nominees. Entry fee:

in
official
All
will
For pre-selection screen-
in
NTSC replacements
but Betacam
com-
postproduced on HDTV; Telefilm Canada
petition shot or
Prizes,
President's
prize for the best entry in the
info@
678-9269;
fax:
CANNES INTERNATIONAL FILM FESTIVAL, May

France. Deadline: April
Largest
1.
by over 30,000 professionals, stars, directors, distribu-
&
buyers
tors,
Round-the-clock screenings,
journalists.
& one
ceremonies, press conferences
parties,
you handle?
4 days,
80 unexpected
stories
9-20,
film test, attended
int'l
reality can
Canada,
Alberta,
www.banff2001.com
banfftvfest.com;
how much
May
3-6, 2001
Durham,
North Carolina
of world's
crossroads
film festival
jackson
ms
april 5-8
2001
largest film markets. Selection committee, appointed by
Administration
chooses
Board,
entries
& Un
Competition (about 20 films)
made
(about 20 films). Films must have been
12 mo., released only

other fests.
in
awards; 2) special Out
&
Palme
competition
new
660 3699
po box 22604 jackson, ms 39225

www.crossroadsfilmfest.com
of:
in
In
1)
shorts competing for major
zl *WH C l^\
previous winners of
by
(e.g.
do not qualify for competition,
new compe-
directors, etc; 4) Cinefondation,
& promote
tition (since '98) to present
919
w/in prior
Un Certain Regard, noncompetitive section
d'Or); 3)
www.ddff.org
Competition accepts features
of
for films of int'l quality that
films by
Official
not entered
component consists
Official
for
&
country of origin
Competition, for features
ineligible
for
Certain Regard section
CHICAGO niiDEBGBOnMD
& medium-
short
length fiction or animation films, final year student films or
productions thatshow artistic qualities that deserve to
first
be
encouraged.
market administered
Film
main venue &
screens film
in
tions
Quinzaine
incl.
NaRhee Ahn
Fortnight, call
for guidelines
&
Realisateurs
(deadline mid April);
465-8200,
main sidebar
Semaine de
La
Week), 1st or 2nd features
Critic's
sec-
(Director's
at Independent Feature Project
application. (212)
[email protected]),
8525;
des
separately,
local theater. Parallel
fax:
new
for
Critique
la
465-
talent,
(Int'l
& docs chosen
French Film Critics Union (selections must be completed

w/in
12
mos
prior
to
Top
test).
Competition's Palme d'Or (feature

(best first film
year student
VHS (NTSC,
ing
fees
Festival,
011 33
film).
Pal,
&
any section)
in
&
prizes
incl.
short),
Camera
Formats and preview:
may be
99 Boulevard Malesherbes, 75008
45 61 66 07;
fax:
33
fee,
Film
Paris, France;
61 97 59. Add'l
des
info:
Realisateurs
75010
011 33
Paris, France;
011 33
fund deadline:
urui niicmDr
W
WWW.lUrT.UKb.
THE BOUNDARIES OF FILMMAKING
FEBRUARY
5.
20D1
DEADLINE FO r the 8th amhual Chicago
undergrouhd film festival april
t,
2001
i-iez:
Cannes Film
45 61 66 09,
14
1
POST-PRODUCTION OF FILMS THAT

nrrv tuc uiiuctdciu nun Diiru
DEFY THE MAINSTREAM AND PUSH
fax:
33
45
Quinzaine des Realisateurs, Societe
de Films,
773.327.L
Paris, France;
Market, contact: Jerome Paillard, 99 Blvd. Malesherbes,
75008
StSSS
screen-
Int'l
45 61 45 88 RDF@fes-
www.festival-cannes.fr;
tival-cannes.fr;
d'Or
35mm, 16mm,
Cannes
Contact:
incured.
GRANTS AWARDED FOR
iSH
Official
Cinefondation (best final
Secam), Beta (PAL). No entry
NOW ACCEPTING APPLICATIONS!
by
Rue Alexandre
44 89 99 99,
89 99 60. Semaine Internationale de
la
fax:
CHICAI
FILM FESTIVAL
Parodi,
33
Critique, attn
44
Eva
lanuary/February 2001
THE INDEPENDENT
51
2001 Arizona
International Film Festival - April 19-29
Roelens, 73 Rue de Lourmel,
75015
Oil 33 145 75 68 27;
140 59 03 99
fax:
CINEMATECA URUGUAYA,
Feb.
33
Paris, France; tel:
April 7-22,
Uruguay. Deadline:
w/ purpose
conceptual values.
Box
Tucson,
AZ
520.628.1737
Deadline:
www.azstarnet.com/-azmac
February
&
mutual
of
Length Film Show;
Int'l Full
Doc & Experimental Film Show;
Int'l
Tel/FAX:
being frame for
at
of regional projects
has 4 sections:
interest. Fest
85702
aims
fest
Ind.
meetings & discussions
431,
int'l
human &
promoting film quality &
of
feature-
American &
length, doc, fiction, experimental, Latin

films,
&
19th annual fest devoted to short
15.
Show; Espacio
Info
Uruguay. Films should be subtitled, have Spanish version,

or
12,
have a
2001
or
list
of texts or dialogues translated into
Spanish
English, French or Portuguese for us to translate.
in
Films wishing to compete should have been finished after

Jan.
1999.
1,
16mm, 35mm, VHS (PAL
Formats:
U-Matic PAL.
NTSC),
Preview
VHS.
on
or
CU,
Contact:
Lorenzo Camelli, 1311 (11200) Montevideo, Montevideo,
Uruguay;
Oil
fax:
598
409
cinemuy
4572;
chasque.apc.org; www.cinemateca.org.uy
HAMBURG INTERNATIONAL SHORT FILM

June 13-18, Germany. Deadlines: March
& No Budget
Film Competition
min. Quickie). 16th annual fest

diversity of
int'l
short films
&
FESTIVAL,
Short
(Int'l
Competition); April
(3-
a forum for presenting
is
a meeting place for film-
makers from home & abroad. Awards: Hamburg Short

Film
Award (main award), No Budget Award
(jury
award),
Francois Ode Award (jury award), Audience Awards (each
Theme
cat).
of
2000 3-min. Quickie
"neighbors."
is
Length: under 20 min. (exceptions possible); except 3-
min. Quickie. Formats:
not
German
in
35mm, 16mm, super
VHS & S-VHS. Previews on VHS.
U-Matic,
Friedensaliee
Betacam,
8,
previews are
or English, please enclose text
returned. Contact: HISFF, KurzFilmAgentur

IHSFF,
If
list.
VHS
Hamburg
not
e.V,
D-22765, Hamburg, Germany;
7,
Oil 49 40 39 10 63 23;
fax:
49 40 39 10 63 20;
[email protected]; www.shortfilm.com
LAON INTERNATIONAL FILM FESTIVAL FOR YOUNG

PEOPLE,
3-13, France. Deadline: Feb.
April
Oldest
1.
French fest for youth, attracting more than 30,000 spectators
Laon
&
is
well
known by French
distribs.
30,000 FF (approx. $4,625)
Awards: Prize
to the
Looking for high quality feature films
French
of
distrib.
be of inter-
likely to
est to children or young adults (fiction or animation).
35mm, 16mm.
Formats:
Preview on VHS. No entry fee.
Contact: LIFFYR Florence Dupont, 9 Rue du Bourg, B.R
pril
1,
2001
526, 02001 Laon Cedex, France; Oil 33 3 23 79 39
37/33 3 23 79 39 26;
fax:
33 3 23 79 39 32;
festival.cin-
[email protected]; www.laonfilmfest.com
Si:
US
'
:**
C,
MELBOURNE INTERNATIONAL FILM

L-
FESTIVAL, July 18-
L^
Aug.
Deadlines: March 2 (shorts); April 6 (features).
5.
FIAPF-recognized fest celebrates 50th anniv. as one of

Australia's largest
iuol
big
work,
muddy
w/
special
its
oldest tests. Eclectic mix of indie
interest
Substantial program of
film
$2,000
call for. entries
training
&
&
each
fiction.
feature
cash prizes
Melbourne Award
for best of in
animated, doc
2001
in
docs
new Aussie cinema.
film competition features

Prix City of
deadline: fanuary 15,
&
for
in
&
shorts.
short
Int'l
7 cats:
Grand
Best Film ($5,000) &
cat: Australian, experimental,
Open
to films of all kinds, except
ads. Films 30 min. or less eligible for
Int'l
Short Film Competition; films over 60 min. eligible for
618.453.1482
fax:
southern
dept. of
;.618.45.3.2264
wvyw.bigmuddyfilm.com
cinema
illinois university
'"end
carbondale,
il
photography
62901-6610
noncompetitive feature program. Video productions considered
screened
52
THE INDEPENDENT
for
"out-of-competition"
screenings.
in
Entries
&
not
Melbourne or broadcast on Aussie
TV.
must have been completed w/in previous
yr.
35mm, 16mm,
Formats:
207 Johnston
61
James Hewison,
Exec.
Dir.,
Box 2206, Fitzroy 3065, Australia; Oil
St.,
417
Preview on VHS.
1/2".
3/4",
Entry tee: $40. Contact: MIFF,
2011;
61
fax:
417
miff
3804;
May
netspace.net.au; www.melbournefilmfestival.com.au
MONTREAL JEWISH FILM
FESTIVAL, May 3-10, Canada.
films from around the world. Cats: feature, doc, short,
animation. Formats:
No entry
352 Emery
St.
35mm, 16mm, Beta-SR VHS
Toronto Documentary Forf
5th
fl.,
(Beta
2nd
1J1;
www.mjff.qc.ca
meeting of international documentary commissioning

in
the social, cultural and political genres
;bmary
"
6
March 23
1
June 22-30,
Deadline:
Italy.
ms!f
March 31. 37th annual
"New Cinema" program
test's
5Q+ international
3& pitch slots
&
aa y s
<m
features, shorts, fiction, nonfiction, experimental
1,2000.
If
entry
FORUM
in
Amsterdam
for pitch slots
commissioning editors
www.hotdocs.ca
m, w m, <m m* <m
<m>
te
DETAlLS
416.203.2155
in
list
either language. Formats:
U-matic, Betacam. Preview on VHS. No
Contact:
fee.
program executives and producers
not English or French spoken or sub-
enclose dialogue
35mm, 16mm,
editors,
based on the prestigious
2001 entry UtAlMJNi:
animation. Production req. Italian premiere, completion

after Jan.
...
* 2001 DEADLINE for observer seats
m
PESARO FILM FESTIVAL,
titled,
III!
dynamic edition of North America's most productive
Alper, Director,
Canada H2X
Montreal, Quebec,
the
working
Susan
fee. Contact: MJFF,
(514) 987-9795; fax: 987-9736; festival mjff.qc.ca;
incl.
Canadian !nternational|Documentary Festival
-2001
Feb 15. 6th annual test showcases Jewish
Deadline:
SP).
2 -> 3
Fondazione
PFF,
06 445 66 43/49 11 56;
fax:
39 06 49
Nuovo
Pesaro
Cinema, Via Villafranca 20, 00185, Rome,
Oil 39
Italy;
63; pesaro film
1 1
[email protected]; www.pesarofilmfest.it
prII30-> May
6-2001 hot docs festival
4 r 2000 DEADLINE for film submissions

80 + documentaries from around the world
PEA] URfNll
December
'48Si
mi" spotlight on the Nordic countries
SUNNY SIDE OF THE DOC MARKET,
June 20-23, France.
a
i
n fj us try symposium and more...
Deadline: early March. 12th annual market brings togeth-
producers, distributors, commissioning editors,
er ind.
heads
TV programming depts & buyers from
of
from 35 countries, 182 buyers
over
all
some 539 companies
the world. Attended last year by
& commissioning
editors
120 TV channels. Market provides opportunities
&
for pro-
development & meeting partners w/ Side-by-Side
ject
sessions (one-on-one meetings w/ commissioning editors for advice on projects). Contact: SSD,
23 rue Frangois
Simon, 13003 Marseille, France; Oil 33 4 95 04 44 80;
33 4 91 84 38 34; [email protected]
fax:
TORONTO JEWISH FILM FESTIVAL,
April
Canada. Deadline: Feb. 15. Now
9th year, event
is
N. America. Fest
is
in its
the 2nd largest Jewish film fest
in
devoted to chronicling the diversity
of
26-May
Jewish
&
life
11 Call for Entries
3,
expe-
riences from around the world. Well-supported by the
Toronto
Jewish
15,000
last year.
35mm, 16mm,
Contact:
community, fest had

Cats: feature,
Beta SR
VHS (Secam,
Shlomo
TJFF,
Programming,
Canada M5R 2S2
(416)
attendance of
short.
Formats:
No
entry fee.
PAL).
Schwartzberg,
Madison
17
doc,
Ave.,
324-8226;
fax:
of
Dir.
Toronto,
Ontario,
FILTVl
FF_S"TI\//KI_
324-8668;
\\\\
[email protected]; www.tjff.com
Annul
Film /Vide
Festival
TURIN INTERNATIONAL FESTIVAL OF LESBIAN AND GAY

FILMS,
April
one
year,
Entries
19-25.
Italy.
Deadline: Jan. 31.
of longest-running int'l
titles.
new
&
issues. About
Competition section divided between 3 juries:
doc, long feature
tures
16th
in
int'l
&
short feature.
productions.
Panorama section
Award named
fea-
after late fest
co-founder, Ottavio Mai, presented to best screenplay for

short.
Cats: doc, feature,
short..
Formats: 3/4",
35mm, 16mm. Preview on VHS. No

TIFLGF,
Westhampton Beach Performing Arts Center
May
3rd-6th, 2001
should be by lesbian/gay/bisexual/transgender
filmmakers or address related themes
170
Now
gay & lesbian events.
Angelo Acerbi,
Carlo 161,
10123
1/2",
entry fee. Contact:
Head programmer, Piazza San
Torino, Italy;
Oil 390 11 534 888;
fax:
Forms (Due 4/1/01)

Christopher Cooke, Director
Long Island Film Festival
c/o P.O. Box 13243
Hauppauge, NY 11788
1-800-762-4769 . (631) 853-4800
From 10:00am-6pm, Mon-Fri
or visit our website at www.lifilm.org
Call or Write for Entry
390 11 535 796; [email protected]; www.tur

inglfilmfestival.com
THE INDEPENDENT
53
GJJ^S^Si-îi
MEMBERS ARE
NOTICES OF RELEVANCE TO AIVF
LISTED
278-2209;
FREE OF CHARGE AS SPACE PERMITS. THE INDEPENDENT
RESERVES THE RIGHT TO EDIT FOR LENGTH AND MAKES
INFO WILL BE CURRENT. DEADLINE: 1ST OF
ny,
reception
31,
Camden
monthly. Entry fee: $55. Contact: CSDA, 433 N.
600, Beverly
Ste.
CA 90210;
Hills,
awards
288-0257;
fax:
TO BE AS
2001.
DOCTOBER
short
films
length
for
Oct. (postmark). Fest,
standard screenplay format
in
w/ the WGA.
&
Entry
preeminent
org
nat'l
dedicated
Deadline: April 30.

exist
(16mm
on film
or
advancing & preserving the
art of film,
to identify, recognize
months
day of
fest; only individual
doc films
Sony DV equip, during prod'n. Cats:
&
$1,000 &
of
readings
in
Los
$500. For more
info,
www.geocities.com/ Ihprods.
visit:
MONTEREY COUNTY FILM COMMISSION SCREENWRIT-
selected films that meet
will invite
performed
Seattle; 2nd, Scholarship of
release form, or appl.,
programmers
$45.
Remsen Memorial
Bert
May
discount: April 15. Final deadline:
video professionals. Entries must have utilized

15. Fest
1st,
eligible. Early
& reward
w/
zes:
Pri
follow-
Angeles
bird deadline
release
fee:
or
Scholarship
nor w/in 6
TV & other forms

ing first
moving image, seeks
35mm); no broadcast,
to
to,
& have
screening format
reqs:
adminisother TV airing anytime prior
digital
scripts yet to receive attention they deserve.
form must be sent w/ each screenplay. Entry
&
3rd
its
DOCtober,
for invitation to
minimum
they meet following
must
of the
443-3733;
(312)
films entered into IDA
All
Awards competition considered

if
the
consideration.
must be
copyright or be registered
COMPETITIONS
by AFI,
Hyde,
LAUGHING HORSE PRODUCTIONS announces
every genre
&
feature
qualifies
Academy Award
tered
Jason
Contact:
Annual Screenplay Contest. Seeking compelling scripts of
Scripts
April
be
of Jan.
(310) 288-1988;
HollywoodNetwork.com;
www.HollywoodNetwork.com
SUBMITTING TAPES OR APPLICATIONS.
FEST,
may
public screening of their film. Films
jhyde2artic.edu; www.siskelfilmcenter.org
CURRENT AS POSSIBLE, BUT DOUBLE-CHECK BEFORE
DVCAM
&
option, script
any length & have been completed within two years
304
FIVF,
WE TRY
NY 10013.
NY,
$10,000
to
analysis, film courses, conferences, software. Deadline:
Dr.,
6TH FL,
ST.,
Awards: Up
script consultant.
(E.G.,
FOR MAY ISSUE). COMPLETE CONTACT INFO
NOTICES. SEND TO: INDEPENDENT NOTICES,
AFI
Winner
awards ceremo-
also be bought to Chicago for a June
will
(NAME, ADDRESS & PHONE) MUST ACCOMPANY ALL
HUDSON
encourage comic innovation
screenplay accepted monthly to receive rewrite notes from
HOW LONG
1
to
a film format. Prize: $2,500. Deadline: Jan. 31.
entertainment industry. One
INDICATE
THE MONTH, TWO MONTHS PRIOR TO COVER DATE
MARCH
&
award established
To
in
bridge gap between writers
WORDS &
biennial
COLUMBUS SCREENPLAY DISCOVERY AWARDS:
NO GUARANTEES ABOUT REPETITIONS OF A GIVEN

NOTICE. LIMIT SUBMISSIONS TO 60
GENE SISKEL FILM CENTER OFFERS CHRISTOPHER

METZEL AWARD FOR INDEPENDENT FILM COMEDY, a
www.marquette.edu/
[email protected];
bea/write/STU-00-COMRhtm
fiction, doc, experi-
these reqs by Aug. 15. A co-op fee
may
apply for festival
ING CONTEST. Open
web
site.
Contact: Melissa
scripts to
to writers
who have
not yet sold
mental, creative event coverage, performance coverage.

screening. Entry form avail, on
Awards: Grand
Sony equip,
Prize,
of
genres & locations accepted,
All
choice valued at up
Disharoon (310) 284-8422

to
Hollywood.
x.
65; www.documentary.org
contest limited to
first
500
entries.
Sony video workshop. Winning entries featured
DRAMA GARAGE THURSDAY NIGHT SCRIPT READING
NAB
at
Deadlines: Jan. 31. Entry fee: $50. Rules
on website or send s.a.s.e.
avail,
Convention
&
Las Vegas
in
SERIES holds once
the
month
Studios
Hollywood. Preview
in
to:
&
entry forms
MCFC, Box 111,
script reading at Occidental
Monterey,
AFI Fest
$1,500.
First prize:
$50,000; Category prizes, Sony equip, up to $5,000 or
in
CA 93942;
mryfilm@
646-0910;
(831)
Los Angeles w/ a
aol.com; www.filmmonterey.com
&
formats:
DV,
DVCAM.
2021
Fest,
N.
profes-
NTV-FILM SCREENPLAY CONTEST

length
Western Ave., Los
CA 90027;
Angeles,
&
professional director
Entry
DVCAM
$75. Contact: AFI
fee-.
(866) AFI-
scripts.
script will be
Newsreel Workshops
SONY; www.dvcamfest.com
purchased
must have
(you
for feature-
genres accepted. Winning
All
for production by
Send
rights).
script
NTV
w/ $40
entry fee payable to NTV, 21 Central Park West,
AMERICAN SCREENWRITERS
The Third World Newsreel Film &
ASSOCIATION
Video Production Workshop
is
sponsoring
new
contest, dedicated to find-
ing,
"the
Grand
soulful story of the year."
$500,
Prize:
dinner
&
consultation
script
w/ Richard
Screenwriting Professor
makers
USC
Krevolin,
& author
of
Screenwnting from the Soul. Entry

fee:
$25/ASA menbers;
members;
Deadline:
$35/nonFeb.
ING CONTEST
resources for emerging film/video
vision
limited access to
&
and
edit
two shorts: a
digital
video and a
and
16mm
film projects. All instructors
See
Mders.
and guest speak-
(up to $500),
&
chosen receives copy
interviewed by lntheBiz.net, a
is
networking org for assistants
private
of Final Draft
& producers
industry to agents
in
web
site
&
entertainment
new
looking for
talent.
VIP pass to Heart of Film Screenwriters Conference (Oct.
Awards:
12-19), Heart of Film Bronzed Award. Entry fee: $40.
view w/ lntheBiz.net. Deadline: monthly. Entry
fee:
& submission
info
(800)
310-FEST;
austin-
For appl. see

tact:
web
site.
For rules
Drama Garage Thursday
1861 N. Whitley,
Ste. 205, Los Angeles,
promote & recognize outstanding student scripts
EGIPOW FILMFEST
in
cate-
series. All fuli
part-time students, undergrad or graduate,
in
&
U.S. insti-
$200 check,
soft-
ware, book of choice from Focal Press. Deadline: Jan.

Contact: Broadcast Education Assoc.; Dept. of
State Univ., Fullerton,
54
Comm., CA
CA 92834; (714) 278-5399;
THE INDEPENDENT
fax:
site.
All
$25.
con-
fees:
$75
(features);
$25
(shorts).
SCRIPTAPALOOZA 3RD ANNUAL SCREENWRITING

marked
16
prize
$25,000. Deadlines: post-
Jan. 5 (early, $40), Mar. 5 (first deadline, $45),

(late
PMB #200,
entry,
$50). Contact:
Hollywood,
CA 90046;
7775 Sunset
(323)
Blvd.
654-5809;
[email protected]
CA 90028; (323)
VIDEO SHORTS ANNUAL COMPETITION seeks
short
videos for juried screenings open to public. 10 entries
chosen as winners; top 2 receive $100, other 8 receive

tives,
experimental
length
&
accepts
all
genres
incl.
& animated works,
docs, narra-
both
$50, plus any revenue received from rental or sales. Max.
featurelength: 6 min. Entry fee: $20;
short.
Winning feature & short screened
in
a
al
tutions of higher education. Awards:
web
Night Script Reading Series,
993-5700; www.dramagarage.com
& TV
guidlines,
entrants receive pro critique. Deadline: Feb 15.
COMPETITION. Grand
Final Draft Software, professional reading, inter-
BROADCAST EDUCATION ASSOCIATION NATIONAL STUDENT SCRIPT-WRITING COMPETITION is designed to

gories of feature film, short film
&
visit
Contact: (323) 252-4243; [email protected]
April
aol.com; www.austinfilmfestival.org
synopsis form,
Winner gets $375 & agency recommendations.
software
Three feature cats: adult/
mature themes, children/family & comedy. Awards: cash
Contact:
&
PAGETURNERS SCREENPLAY CONTEST:
and
Listing.
COMPETITION:
15.
$2,000. Submission fee:
www.ouroborosproductions.com
member on
Entry
May
prize:
Box #338, San Francisco, CA 94127;
Ave.,
non-sync sound
as a technical crew
ers are experienced professionals currently working in the field of film
sional actors. Writer
Deadline:
a creative
Contact: Ouroboros Productions, 236 W. Portal
AUSTIN FILM FESTIVAL HEART OF FILM SCREENPLAY
film@
anyone w/
ception to completion. Each participant will ultimately produce, write,
at least four other video
accomm.
to
$30. Deadline: Feb. 28. For rules
www.asascreenwriters.com
prizes, airfare (up to $500), hotel
open
production, and postproduction skills necessary to take a project from con-
asascreenwriters.com;
Call for entries.
is
a feature-length work. All genres wel-
come. Grand
mainstream training programs.
months and focuses on the preproduction,
lasts five
film. Participants are also required to serve
johnj@
(513) 731-9212;
who have
OUROBOROS PRODUCTIONS SCREENWRIT-
provides practical skills and
an application
direct,
29.
Contact: ASA, Box 12860, Cincinnati,
OH 45212;
of color
The intensive program
NY 10023.
Ste. IT, NY,
now
24th year. This unique program
in its
most heartwarming,
is
mainstream
theater. Deadline: Feb.
16mm, 35mm, 70mm.

ture). Contact:
Entry fees:
15. Formats:
$25
316, Los Angeles,
$35
(short);
Egipow Films, 7225 Hollywood
8mm,
same
add $10
(for
each addition-
cassette); max. 3 entries per entrant.
entries
must
labeled
w/ name,
titles
3/4" SR
VHS (PAL
or
(fea-
Blvd., Ste.
CA 90046; [email protected]
entry on
incl.
entry form. Tapes
& running
All
& boxes must be
times. Formats: 3/4",
SECAM), S-VHS.
DV. Incl. s.a.s.e. for
SON VIDA PICTURES

tape return. Deadline: postmarked 1st Sat.
Contact:
ally).
WA
Box 20295, Seattle,
Video Shorts,
41
Feb. (annu-
in
UNION SQUARE WEST

NEW YORK CITY
98102; (206) 322-9010. www.videoshorts.com
Conferences
Workshops
8th int'l film financing conference announces
ANNUAL OPEN
DAY: Jan
& networking
panels
financiers
&
tion
open
How
to Sell
San Francisco, a
12,
& "Funding
Your Idea"
Wave." Registration
include:
fee:
of
film
int'l
w/
registra-
"Pitch
Perfect:
buyers. The only day of IFFCON
to the public. Topics
day
full
w/ key
opportunities
the Future: The Digital
212 242-9585
$150. Info & registration: (415)
281-9777; www.iffcon.com
FROM TODAY A CONFERENCE OF ELECTRONICALLY

MEDIATED DOC WORK. March 15-17. Providence, Rl.
Hosted by Brown University's Scholarly Technology Group.
&
Conference for doc producers
new technologies
publishers focusing on
&
Conference includes panel discussions
new doc work &

niques
&
&
for fieldwork, production
Film-Video
distribution.
presentations of
seminars addressing tech-
practical
strategies facilitated by electronic tools. Seeking
anyone interested
participation from
presenting or dis-
in
cussing their electronically mediated doc work. Contact:
863-9313;
(401)
[email protected];
The University of Miami
www.stg.
School of Communication seeks a
brown.edu/conferences/fromtoday
WORLD NEWSREEL
THIRD
2001 FILM & VIDEO PRO-
DUCTION WORKSHOP Workshop emphasizes

who have
support of people of color
&
mended but
&
produce, write, direct
Workshop begins
April. Prior
edit 2
projects.
film/video experience recom-
not required. Cost of workshop
fl.,
New
York,
$500.
is
545 8th
Deadline: Jan. 12. Contact: Third World Newsreel,

Ave., 10th
ASSISTANT PROFESSOR
postproduction. Primary objective to have
member
each
&
month program focuses on preproduction,
Intensive 5
production
training
limited resourses.
NY 10018; (212) 947-9277;
to teach undergraduate
fax
and graduate
screenwriting for the academic year
594-6417; [email protected]; www.twn.org
commencing August, 2001.

Films
Tapes Wanted
The
arizona state university art museum short
FILM & VIDEO FESTIVAL, Late
night outdoor event.
All
April, AZ.
Entries will be listed on fest
museum's video
VHS, submit
ASU
Fest,
ASU
Art
Awards are
web
John
A terminal degree,
in
10th
&
St.
name
become
is
competitive and commensurate with

qualifications and experience.
will
remain open
The search
until the position
is filled.
entry fee. Contact:
Museum
Mill Ave.,
965-5254;
fax:
will
professional credits and
teaching experience are required. Salary
Preview & format:
No
Spiak, Curatorial
D.
Museum,
&
site
library.
s.a.s.e. for return.
965-2787;
(480)
a one-
Award & LeBlanc Audience Choice Award.
only: Jurors
part of the
is
cats (animation, b/w, experimen-
entries should be under 10 min.
tal),
Fest
applicant should be competent in
writing for motion pictures and television.
Specialist,
Tempe, AZ 85287;
[email protected];
www.asuam.fa.asu.edu/filmfest/main.htm
AXLEGREASE,
film
&
3/4",
video, accepting
8mm,
length,
NY cable access program
Buffalo,
all
genres under 28 min. on 1/2",
Send labeled w/ name, address,
Hi-8.
additional
info
&
Send resume to:

Professor Paul Lazarus
of ind.
for
s.a.s.e.
Squeaky Wheel, 175 Elmwood Ave.,
tape
Buffalo,
University of
title,
return
Miami
School of Communication
to:
P.O.
NY 14201;
Box 248127
Coral Gables, Florida 33124-2030
(716) 884-7172; [email protected]
[email protected]
BIJOU MATINEE
is
showcase
for
independent shorts.
Program appears weekly on Channel 35 leased access
Manhattan Cable South (below 86th

2:30 p.m. Submissions welcome
less.
649,
&
VHS, 3/4", or DV. Send copies
New
York,
NY
10159;
St.)
every Sat. at
should be 25 min. or
to Bijou
Matinee, Box
(212)
505-3649;
The
University of Miami
is an equal opportunity/affirmative action employer

and encourages applications from minorities and women.
www.BijouMatinee.com
January/Februan
2001
THE INDEPENDENT
55
BROOKLYN ARTS EXCHANGE
accepting short
16mm
&
NYC
Independent
videos (under 30 min.) by
& Video
Film
&
s.a.s.e.
Brooklyn
Series,
Brooklyn,
NY 11215;
& web
5th
832-0018
Ave.,
x.
productions
professionals wel-
come. Submit VHS cassette, email address, &
s.a.s.e. for
24 Walker
return materials to: Grrrowl Productions,
works-
shorts, feature
should
be
of industry professionals.
Deadline:
digital.
Fiacchino,
ongoing.
971-5846; www.
(212)
makers
sidered for Sunday night screenings where they precede
Q & A w/ audience. Works
evening's feature, plus brief
shows
longer than 15 min. considered for regular group
16mm
independent filmmakers. Only show works on
Send
optical track.
w/ completed
films, together
Ocularis, Galapagos Art
only year-round short film series
film-
Works under 15 min. con-
for continuing series.
site)
of
w/
entry
Short Film Curator,
to:
Independent Filmmakers Program. Awards
Kodak prod-
five
uct grants annually to selected filmmakers on series. Sub-
mit on VHS. For appl., send s.a.s.e.
Jack Ofield,
to:
Production Center, SDSU, 5500 Campanile
Dir.,
San Diego,
Dr.,
CA 92182; [email protected]; www.theshortlist.ee
www.geocities.com/grrrowlproductions/
form (download from web
finishingpictures.com
FIREWATER FILMS,
Dr.,
Mead, NJ 08502; grrrowlproductions@ yahoo.com;
Belle
8.
films seeking distribution or exposure
Tommaso
&
genre or subject. Amateurs, students
OCULARIS seeks submissions from independent
presented to invited audience
Contact:
421
Exchange,
Arts
Info/details: (718)
resources for CLIPS, a quarterly showcase
to financial
All
Independent Film &
to:
FINISHING PICTURES accepting

in-progress
films
Any genre/subject matter. Deadline:
Series.
ongoing. Send tapes
Video
artists tor
& Performance Space, 70
N. 6th
THIRD WORLD NEWSREEL, one

media organizations
&
sions of short
in U.S.,
oldest alternative
of
&
seeking film
video submis-
feature length docs, narratives, experi-
mental & other works attentive to intersections of race,
&
class
gender. Projects that address other issues of
&
political
VHS
welcome. Formats: 1/2"
social interest also
tapes. Send submissions, synopsis of the film
545 Eighth
New
Ave.,
York,
&
Shaw,
director's bio to: Third World Newsreel, Attn: Noel
NY 10018; (212) 947-9277;
in
NY 11211;
Brooklyn,
St..
388-8713;
(718)
ph/fax:
fax:
NYC, seeks short film submissions (cats: narrative, doc,

animation & experimental). Films shown on both
16mm
VHS &
formats at Big Top Theater. Contact: Firewater
Films, Box 20039, NY,
NY 10025; (212) 414-5419;
fax:
724-8190; www.firewaterfilms.com
NEW CASTLE COMMUNITY
TV STATION
in
[email protected]; www.billburg.com/ocularis
indie filmmakers, incl. those
committed
is
to supporting
who may never have consid-
ered local TV broadcast. Looking for films
&
videos to be
standard broadcast lengths for public television twice a
part of ongoing local ind. film series Viewpoint, which
year for Open Call. ITVS seeks provocative, compelling
showcases works from New England & around the world.
Chappaqua,
from diverse points
&
view
of
communi-
diverse
Films selected for broadcast
honorarium.
receive
will
offering video producers the opportunity to cablecast

ties.
New
their projects. Preferrably
[email protected]
IMAGENATION:
1997
Established
in
cinema & music
int'l
makers
imagenation,
genres, subjects
all
Afnkan descent. Films &
of
Some themes
videos are screened monthly by theme.
2001
will
women's
incl.
history
Daughters
Diaspora
month
seeking short
test, is
cinematic works (35 min. or less) of

styles created by
Projects
drama, doc, experimental)
in
any genre (animation,
Represent!
for
any stage
or in
be considered. Programs should
will
Harlem-based
No finished works.
break traditional molds
of
a great story,
tell
exploring cultural,
of
economic issues, take creative
social or
development
political,
risks,
or give
voice to those not usually heard. Download applications

guidlines at
web
356-8383
232; [email protected]; www.itvs.org
x.
site.
&
Deadline: Feb. 15. Contact: (415)
(a
PBS SEEKS SUBMISSIONS FOR 2001 INDEPENDENT

LENS. Independent Lens expands opportunities
& many more. Download
s.a.s.e.
returned.
be
will
Broadcast masters formats: DigiBeta, Beta SR D5 or D3.
Cannot accept programming produced
Send VHS screening copies
cable.
or
film,
animation
(no
WGBH-TV,
Viewpoint,
length
access
for public
of your doc, narrative
req.)
Chad
to:
125 Western Ave.,
Davis,
MA
Boston,
02134; (617) 300-2647; [email protected]
Publications
appl. from the
for audi-
s.a.s.e.
bio,
CANYON CINEMA announces
new
publication of major
(political
web
ences
to
see original
&
provocative work on topics often
catalog of avant-garde /experimental films
&
video tapes
site.
ignored by commercial TV. As part of PBS, Independent
Send a VHS copy, synopsis,
for rent
& submission
Lens programs gain
fee to:
by
celebration); Animation Nation;
Nuyorican Soul (Latino/a films); Reel Revolution

films)
accompanied
Tapes
Castle or Westchester res-
idents, although not req. Contact:
&
2001: The Independent Television Service
considers proposals for innovative programs of
(ITVS)
stories
NY
WGBH
WGBH-TV, BOSTON:
OPEN CALL
&
nat'l recognition
many
the
benefits
Catalog
&
sale.
2000
500-page volume
(#8).
of the
285
contains
Canyon Cinema
illustrations
&
imagenation film festival, College Station, Box
PBS
of the
127,
New
Fest
Dir.
York,
logo. Currently, a licensing fee is not avail, for
NY 10027. Contact: Moikgantsi Kgama,

programs being accepted
(212)
describes more than 3,500 works of cinematic art by 370
631-1189;
Filmmakers may
into the series.
filmmakers. Also 25th Anniv. Catalog
1993-5 sup-
(incl.
[email protected];
het
incur miscellaneous packaging
& promotional
fees neces-
&
plements) w/ over 3,500 film
video
titles is avail, for
www.imagenation-films.com
sary to bring the program to
INDUSTRIAL
TV: cutting-edge cable access
show
is
look-
humorous, dramatic, ani-
ing for experimental, narrative,
mation & underground works for inclusion
in fall
season.
air.
While works of
PBS
are accepted, please keep standard
which may necessitate

materials
edits. Deadline:
all
March
lengths
in
mind,
15.
Send
lengths
$20. ph/fax: (415) 626-2255; [email protected];
www.canyoncinema.com
INDEPENDENT PRESS ASSOCIATION:

dent audience! The IPA's
Controversial, uncensored
aged. Guaranteed exposure
&
subversive material encour-
in
NYC
Edmund
area. Contact:
Find an indepen-
Cheryl A. Jones PBS, Independent Lens,
to:
1320 Braddock
PL, Alexandria,
VA 22314; (703) 739-
new
directory to independent
magazine world can give you the name & number
of the
5010; [email protected]: www.pbs.org/independentlens

editor
you
$24.95
For just
need.
S&H)
$3.05
(plus
Varuolo, c/o 2droogies productions, Box 020206, Staten

Island,
REEL ALTERNATIVE FILM SALON;
NY 10302; www.2droogies.com
microcinema featuring
KQED-TV, public TV serving San Francisco/Oakland/San
& dramas 6-30
Jose, looking for independent docs

for
min.
broadcast acquisition. Contact: Scott Dwyer, (415)
553-2218; [email protected]
script
submissions
welcome. Special
animation for
for
filmmakers of
second season.
interest in
April.
missions must
indie
incl.
Brooklyn's
All
female action
color,
& $10
seeks film
genres
&
&
&
formats
March &
flicks for
Film (submitted on VHS)
synopsis, bio
original
script
sub-
Annotations: A Guide To The Independent Press can open
up a world of diverse & exciting contacts. For order send
check
to: IPA,
ing short video, film
&
screened monthly
&
670-3616; www.ighmultimedia.com
SOUTHWEST ALTERNATIVE MEDIA PROJECT (SWAMP)
"Independent Exposure." Looking
looking for
experimental,
mation, underground, etc. Works selected
DVD/VHS home video compilations as
may
qualify for our
Territory,
possible
inclusion
dent film/video
in
of
clearly labeled
tos
to
Seattle,
filmmaker
Microcinema,
WA
98121;
info
Inc.,
or
well as netcasting via
& support
2318 2nd
Info/details:
(206)
materials
Ave.,
preferred)
min.
in
incl.
PMB
pho-
313-A,
568-6051; info
Send VHS (NTSC) copy
maker
bio to:
SWAMR
avail,
for
and arts orgs
THE INDEPENDENT
to
allow
U.S.
undertake projects overseas with
non-exclusive,
in
Central
& Eastern Europe
with grants from
of
work, brief synopsis
&
$2,500-$10,000. Applicants must be citizens
perma-
nent residents of U.S. Deadline: postmarked by Jan. 18.
1519 W. Main, Houston, TX 77006;
CEC
International Partners, 12 W. 31
[email protected]; www.swamp.org
LIST, the
films, airs nat'ly on

to
or
film-
showcase
for
American &
PBS. Pays $100/min.
All
int'l
short
New
York,
19 min. long. Produced
in
assoc.
NY 10001; [email protected]
CALIFORNIA CH MEDIA PROGRAM PLANNING GRANTS
genres, 30 sec.
provide up to
56
Tax
Funds
Contact: Arts Link,
(713) 522-8592;
THE SHORT
a super series for the electromagnetic spectrum. Any
&
must be made.
statewide (Texas) broadcast btwn. Oct. 2000-Sept. 2001.
microcinema.com; www.microcinema.com
videos for
Reservations
ARTS LINK COLLABORATIVE PROJECTS
St.,
MUSIC VIDEOS WANTED. Submit original music
seminars on
the country. Recent works under 30
genres that are
all
& more.
Resources
artists
S-VHS (NTSC
offer
Incorporation
indepen-
colleagues
microcinema.com. Submit VHS
CA
is
25th season of The
in
PBS showcase
the longest-running
Francisco,
Contact: (212) 319-2910.
digital-media submissions of 30 min.
short,
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Exemption"
or less on ongoing basis for monthly screening program

for
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VOLUNTEER LAWYERS FOR THE ARTS
scripts staged quarterly. Contact: (718)
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St.,
(check/m.o.). Films
"Copyright
MICROCINEMA, INC./BLACKCHAIR PRODUCTIONS
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$750
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COMPOSER CONTACT ON-LINE CATALOGUE:

vestworks
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Har-
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record compositions for various projects.
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Contact: [email protected]; www.harvestworks.org
CONVERGENCE 2001 INTERNATIONAL ARTS FESTIVAL

SEPT. 8-24: Providence Parks Dept., Office
Work
downtown
be installed throughout
must be weather-resistant & able

interaction. All proposals
work
ples of recent
Requests
resume.
Materials
AND AVID
MEDIA
digital/non-linear editing
withstand public
must be accompanied by sam-
not to exceed 20 slides
reviews
funding not to exceed
for
w/
returned
to
Work
area.
Beginning, intermediate, and

classes are offered
monthly.
&
$2,000.
w/ proper postage.
s.a.s.e.
BETA SP
DVCAM
The Wexner Center for the Arts

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more information
Maria Troy, 674 292-7617
wexner center
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the ohio state university
1871 north high street
columbus, ohio 43210
11BNORTH
Cultural
400
Affairs,
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Westminster
02903;
Rl
4th
St,
TH STREET
71B.599.Z385
aUTPOBTVIDEa.COM
www.wexarts.org
Fl.
info@
621-1992;
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11
BROOKLYN, NY
Deadline: Jan. 15. Contact: Providence Parks Dept, Office

of
DO
BROADCAST DUALITY
advanced
Call for
2 EDIT SUITES
VER. 5.5
of Cultural
media/mixed-media proposals.
seeks assorted
will
training
more about composers who can be commis-
to learn
Affairs
MEDIA COMPOSER VER. B.I

WITH ICEBOARD
FOR AFTER EFFECTS
1300
[email protected];
322-6575;
fax:
&
Arts Council,
CA 95814; (916) 322-6555;
930, Sacramento,
1 St, Ste.
AVID
LA: (213) 623-
offers various grants
for performing arts. Contact:
MULTIMEDIA & VIDED PRODUCTION
VI
Deadline:
staff.
Ste.
St.,
CA 94108; (415) 391-1474;
CALIFORNIA ARTS COUNCIL
(800)
simi-
San DiegO: (619) 232-4020; www.calhum.org
in
grams
Humanities
for
CCH, 312 Sutter
Contact:
1.
&
reps, travel
develop proposal. Before apply-
to
w/ CA Council
consult
ing,
THE DUTPDST
pay for background research, consultations
to
w/ humanities scholars & community
caparts.org; www.caparts.org
DONNELL MEDIA CENTER OF THE NEW YORK PUBLIC

LIBRARY accepting proposals
window
street-level display
for video
installation
month
exhibited for entire
in
of
June 2001. Submissions celebrating Gay & Lesbian Pride
Month welcome. Work must be

should be
posals
53rd
to:
silent.
NY 10019.
York,
EASTMAN SCHOLARS PROGRAM:

U.S.
& Canada which
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Ste.
Colleges
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offer a
may nominate
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in
in
film
$5,000
Deadline: June 15. For nomination form,
scholarships.
write to:
Budget range
proposal. Deadline: Jan. 31. Send pro-
Joseph Yranski, Donnell Media Center, 20 W.
New
St.,
w/
incl.
ITVS Funding Initiative
^LlnCS^
LOCAL INDEPENDENTS
COLLABORATING
jKith STATIONS
Doc. Association, 1551 S. Robertson Blvd.,
Int'l
201, Los Angeles,
Fender Philosophers
Production funds for independent
CA 90035.
producer
FUND FOR JEWISH DOCUMENTARY FILMMAKING
&
public television
^- Greener Grass:
offers
station collaborations
Cuba, Baseball
grants up to $50,000 for production/completion of original

films
& videos
that interpret Jewish history, culture
identity to diverse public
U.S.
citizens
audiences. Applicants must be
permanent residents.
or
works-in-progress that address

artistry
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4.
Priority
given to
critical issues,
combine
can be completed within
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year of award
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JOHN
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& CATHERINE
T.
in
one
of
int'l
Sing Faster:
are eligible
The Stagehands'
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Ring Cycle
Cash contributions from any
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330 7th
with a Camera
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205.
x.
MACARTHUR FOUNDATION
provides partial support to selected doc series
intended for nat'l or
and the Uni
Single shows and interstitials
potential. Deadline: April
Contact: Nat'l Foundation for Jewish Culture,
Ave., 12th
&
&
APPLICATION DEADLINE: APRIL 3D, 2001
films
FOR GUIDELINES
& APPLICATION:
broadcast & focusing on an issue
Foundation's 2
major programs (Human
Community
Development;
Sustainability).
Send prelim. 2-
Global
to
3-pg
Security
letter to:
John
&
&
D.
download
riitvs
call
www.itvs.org
(415) 356-8383, ext. 230
email: [email protected]
independent television service
& Catherine
T.
MacArthur Foundation, 140
S.
Dearborn
l.uuun Februan
2001
THE INDEPENDENT
57
(uj^-ajas)
Chicago,
1100,
Ste.
St.,
60603;
IL
726-8000;
(312)
[email protected]; www.macfdn.org
LINCS 2001 (LOCAL INDEPENDENTS COLLABORATING WITH STATIONS),
funding
from the
initiative
Independent Television Service (ITVS), provides incen-
matching monies ($10,000-$75,000)
tive or
nerships between public TV stations

ducers. Projects
\^|> r bHIIUI bllEIIH
-"wirjniv'-
bHIHLUU CUUU
any stage
in
considered. Programs should
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MEDIA GRANTS AVAILABLE TO INDIVIDUALS & ORGANI-
Judge Us By the
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We Keep
ZATIONS
NEW YORK
IN
STATE. The Experimental TV
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funds of up
York State.
$1,500. Cats:
to
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idents of
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in
film artists
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Applicants must be res-
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We
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to
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Orgs must be receiv-
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ENDOWMENT FOR THE HUMANTIES: Summer
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materials are avail, from project directors. Contact: (202)
606-8463; [email protected]; www.neh.gov
NATIONAL ENDOWMENT FOR THE HUMANITIES

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Download
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NATIONAL GEOGRAPHIC TELEVISION seeking
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filmmakers for National Geographic Explorer, award-winning
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775-7860.
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OCTOBER EVENT GRANTS: NY
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Ste. 1700, NY,
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serious
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THIRD ANNUAL CHICAGO UNDERGROUND FILM FUND:
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fax:
NEW FILMMAKER PROGRAM
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support to
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low-budget,
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in
Contact: CUFF, 3109,
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English-language features from U.S.
&
WRITERS/PRODUCERS:
Faith
30 hrs/wk faith-based shows

granting
up
to
&
Values Media (provides
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in
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Send VHS submissions
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Appls. due Feb. 28; www.faithandvaluesmedia.com
menting a fest strategy & securing distribution. Through
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reel at
DP's
DV camera
BL3, Super
stein; (212)
w/ Academy Award nomination.

Productions
&
CD/initial consultation/rough sketch. Call
budget producer!
$100 per day without
deliver!
can put 80 years of suc-
cessful marketing expertise to work for you. Kate Spohr:
DAT, grip, 5-ton truck.
FOR RENT: SONY

Sennheiser
We
the University of California.
for evaluation to:
quotes
Call for
CAMERAMAN/ STEADICAM OPERATOR:
jects. Will travel.
LOOKING FOR AN EDUCATIONAL DISTRIBUTOR? Consider
seeks new doc,
Arri
w/ tracks. Awards
dolly
226-8417; www.dp-brendanflynt.com
99-
210.
THE CINEMA GUILD,
Photography w/ many
of
Owns 35
short film credits.
ductivity
all
http://members.tripod.com/~dmpfilm
60
BRENDAN
rights to the
brochure.
formats: film/video. Non-linear editing
video formats. 13 yrs exp
FOR
NewEnglandFilm.com
[email protected]
programs
AVID OFF-LINE FOR RENT:
in
of
ecommerce, customer service and promotion;
film.
tributor,
Avid classes. Good prices. Call or fax: (212) 794-1982.
up
plans.
(510) 643-2788; www-cmil.unex.berkeley.edu/media/
CA 90290.
Spanish, English, Catalan. Nuria
Trilingual:
stations nationwide. Inside secrets, in-depth info,
practical worksheets.
gigs
& business
DVD, then you can
or
of
all
facility.
Buylndies.com, a community
site:
mentoring, children's health
CPB &
demos.
Sundance & Raindance.
movie available on VHS
Beta SP
Olive-Belles (212) 627-9256.
16/16 Aaton, HMIs, Tungsten &
VIDEOS on
101 Now: (212) 695-
AWARD-WINNING EDITOR, w/Avid and
(212) 340-1243.
to
industrials. Credits:
Working Space/Working Light. (212)
Strays,
feature
have created another
Sony DVCam.
S16,
TV &
class for only $499! ($799 for 2). All-inclu-
sive, a.m. or p.m., 7
Aaton XTRprod
features, docs,
in
prepare script breakdowns,
will
you handle the shipping. Filmmakers keep
Sell
Dog Run,
Director of Photography/camera opera-
BL3,
Movie Magic equipped. Credit cards OK. Indie rates. Mark
dles the
Buy* Rent
producer
line
packages.
investor
Full
shooting schedules, detailed budgets
ads over specified length will be edited. copy
fl,
Arri35
trials,
BUDGETS/BUSINESS PLANS:
229
x.
frequency discount:
$5 off per issue for ads running 5 +
6th
ANDREW DUNN.
Features, shorts, docs, music videos, educational, indus-
for details.
OVER 600 CHARACTERS:

CALL FOR QUOTE: 212-807-1400
MBA in
Sam
the
481-600 CHARACTERS:
rights
Experience
Hold
sectors.
Sagenkahn (212) 481-3576.
Experience
361-480 CHARACTERS:
nonprofit
Marketing & Accounting. Freelance work sought.
tor
937-4113; www.fanlight.com
$65 FOR N0NMEMBERS/$45 FOR AIVF
&
corporate
Our films win Oscars, Emmys, Duponts,
related issues.
Freddies
241-360 CHARACTERS:
both
(781)
932-4677;
www.magonia.com
[email protected];
you
Perfect
name
Bach,
of
music
it!
for your project. Orchestral to
Credits
Music,
incl.
NFL, PBS, Sundance,
Eastman School. Quentin
Chiappetta (718) 752-9194; (917) 721-0058;
qchiap@
el.net
CREATIVE DIRECTOR OF PHOTOGRAPHY w/

director background. Specialty films
my
lighting
specialty.
Can
16mm & 35mm
give your film that unique "look."
ages
Charles for
avail. Call
DIGITAL VIDEO-Sony VX100
ME
man, Sennheiser
Experienced
tation
&
DeWITT STERN GROUP,
pack-
camera & camera-
digital
CELEBRATING
100 YEARS
66 shotgun mic, pro accessories.
dance, theater, performance art documen-
in
Inc.
(212) 295-7878.
reel:
features. Final Cut Pro digital editing with editor
$125/day. John
Newell
ENTERTAINMENT & MEDIA

INSURANCE
677-6652; johnewell
(212)
earthlink.net
DIGITAL VIDEO Videographer/DR with Canon XL-1 video-
cam; prefer documentaries, shorts and less
mance. Alan Roth (718) 218-8065; (917) 548-4512;
[email protected]
DIGITAL VIDEOGRAPHER
VX-1000
Sony
with
420 Lexington Ave.
traditional
music and perfor-
for dance,
documentation
projects;
and
Everything
Avid Media
umentaries and shorts. Contact Melissa (212) 352-4141;
Composer
DIRECTOR OF PHOTOGRAPHY: Award-winning,
exp, look-
ing for interesting projects. Credits incl. features,
commercials
&
Aaton Super 16 pkg.
932-8255
Off-line
at rates the artist

Carol A. Bressi Cilona
can afford.
&
&
Israel.
Own complete
Senior Vice President
lights. Call
Adam
for reel. (212)
212-297-1468
the U.S., Europe
in
docs
New York, NY
212-867-3550 Fax: 212-949-4435
included.
Lectrosonic radio mic. available and happy to shoot doc-
[email protected]
Tel:
or (917)
DIRECTOR OF PHOTOGRAPHY: Looking
Jennifer
for creative pro-
jects to lens: features, commercials, shorts,
& documentaries. 35 and 16mm packages
avail.
York/Boston-based,
(781) 545-
will travel. Call for reel:
Brown
Assistant Vice President
music videos
kitchen
New
212-297-1445
DIRECTOR OF PHOTOGRAPHY
shorts,
tures,
projects,
ind.
commercials,
Credits
etc.
short films,
industrials,
Aaton 16/S-16 pkg
looking for interesting fea-
pkgs.
Credits
many
incl.
features,
music videos.
Abe (718) 263-0010.
avail.
DIRECTOR OF PHOTOGRAPHY w/
era
incl.
16 & 35BL2 cam-
Arri
indie features
&
shorts.
Create "big film" look on low budget. Flexible rates
work
quickly. Willing to travel.
(845) 439-5459;
&
with Arri
BL
3,
Aaton XTR
copy of
reel,
takes to get your
Thanks to the
addition of a third
in
half the time.
Rank
suite, as well as a second
is
ready to shoot your project. Call Jay Silver at (718) 383for a
it
video dailies back
[email protected]
S16/16mm, and Canon XL1 camera package
1325
Colorlab has what
Matthew: (617) 244-6730;
Prod
225 Lafayette, suite 1113, Soho

810-7238 Fax (516) 421-6923
Tel: (516)
audio station, Colorlab offers its clients video dailies
time
it
takes for most labs. With our six eolorists,
in
half the
we have
the
personnel to continue to give independent filmmakers the same
DOCUMENTARY VIDEOGRAPHER
experience
tional
Canada). 22 years
CNN
Europe
Africa,
of
verite,
attentive service that all of our clients have come to expect.
issue
social
Instead of spending time
independent documentaries
International, PBS,
&
waiting for dailies,
Cinemax & CBC.
Last doc premiered at Sundance Festival. Specializes
cinema
&
experience as director/producer,
of
videographer and editor
broadcast on
with extensive interna-
America,
(Latin
multicultural
Robbie Leppzer, Turning Tide Productions;
in
projects.
(800)
557-
mth
spend
it
watching them.
6414; [email protected]; www.turningtide.com.
coiomnn
DP WITH CAMERA:
uiuiui.colorlob.com
and
visit:
view
editing),
list,
package details (cameras
clips/stills.
To order reel or contact,
Client
27
20th St.
York, NY 10011
www.kozma.com
DV CONSULTANT: Need help w/

sultant
avail,
for
training
Cleaner Pro, or just
Mac
working filmmaker
in
in
New
Final
FCR
Cut Pro? Exp. con-
AfterEffects,
ph 212.633.8172
fx 212.633.8241
5708 Arundel Ave.
Media
basics. Former Apple tech rep.
&
NYC. Discount for AIVF members.
Rockville,
EDITOR WITH AVID. Beta SR DVCam. miniDV,

AfterEffects,
Commotion,
etc.
MD
20852
ph 301.770.2128
fx 301.816.0798
Greg (347) 731-3466.

DAT, 3/4",
Experienced with features,
documentaries, broadcast, industrials
&
short form mate-
THE INDEPENDENT
61
(S
commercial
rial;
AVIDS TO GO
to avant-garde.
Convenient East Village
$350/day, $50/hr. (212) 228-
with windows!
location
sample
to:
work on VHS format, before Jan. 30, 2001,
of film
Joan Strommer, Search Committee, Photography/Film
Dept, Virginia Commonwealth
1914; www.detournyc.com
Richmond, VA 23284;
EDITOR WITH AVID: Conscientious advocate
325
Univ.,
jstromme@
Cut.
Village space.
AVR77, 216
gigs, Beta,
Luna
delivers.
encouraged
frequent
contributor
azines, offers legal services to film
&
to:
(212) 647-0940. attention: Production.
EXECUTIVE DIRECTOR: The Independent
Television
Service (ITVS) seeks visionary executive to lead dynamic
EXPERIENCED CINEMATOGRAPHER
& equip-
with crew
organization
16mm & 35mm.
produce
series. Fax letter
Contact
distribution.
Robert LSeigel, Esq.. (212) 333-7000.
ment;
and other
video community on
and resume
development thru
from
We
months.
late January, for three
in
The Independent & other mag-
in
travel, historic, health-related,
projects
seeks interns.
to
Beginning
"Legal Brief" columns
to apply.
DOCUMENTARY TELEVISION COMPANY
ENTERTAINMENT ATTORNEY:
is
persons w/ dis-
[email protected]
(212) 243-1343;
G.
Bill
&
VHS,
abilities are
DV MC/Visa.
VCU
of the Invisible
an EO/AA employer. Women, minorities
Comfy West
N. Harrison St.,
atlas.vcu.edu;
&
Short films
produced work
independently
bringing
to
features. Vincent
public television. For details, see display ad, page 17.
(212)779-1441.
MANHATTAN-BASED PRODUCTION COMPANY seeks
FREELANCE VIDEO EDITOR
specializing
nonlinear digi-
in
experienced
tal editing (DV).
&
producers
associate
producers,
re-
Good Rates. (212) 567-9377 schafer

searchers for history, travel, and health documentaries.
taoproductions.com; www.taoproductions.com; "To a mind

that
the whole Universe surrenders"
is still,
Please fax
and resume
letter
647-0940; atten-
to (212)
Lau Tzu.
tion: office coordinator.
GRANTWRITING/FUNDRAISING: Research,
writing
&
POSITION OPEN: Montana State
strategy (for production, distribution, exhibition,
Media & Theater

tional projects of media). Successful proposals to
Soros
ITVS,
Foundation,
Arts.
Lila
Science
in
&
Filmmaking. This position
Acheson Wallace Foundation. Fast
start Aug. 16,
non tenure-track.
is
2001.
teach pro-
Will
writ-
duction courses to 10-12 graduate students covering
Wanda Bershen,
reasonable rates.
ers,
of
Natural
Rockefeller
$34,000/9 months
Foundation,
M.FA program
NYSCA,
History
NEH,
NEA,
Bozeman, Dept.
Univ.,
& educa-
all
(212) 598-0224;
aspects
of
documentary prod'n. Req: Ph.D.
or M.F.A in
www.reddiaper.com; or Geri Thomas (212) 625-2011;

Motion Picture/Video Production or related
(appli-
field
www.artstaffing.com
cants
INDEPENDENT PRODUCTION COMPANY:

vices for independent filmmakers,
incl. all
ment needed. We also help you with

vices, wardrobe, transportation, etc.
that goes on behind the camera.
We
Providing ser-
the crew
basically everything
specialize
indepen-
in
JOHN BASKO: Documentary cameraman w/

in
your home or office
the most cost-effective
way
to cut your indie film
Will
con-
Vadim Epstein (917) 921-4646.
sider any budget. Contact
long term // short term rentals
equip-
locations, craft ser.
dent filmmaking: features, shorts, music videos.
&
international Network experience. Civil
wars
fax:
having exceptional accomplishments
in
Kosovo,
yrs
in
this field but lack
be considered, provided they
submit documentation). Screening begins Feb.
See
announcement &
full
instructions
2001.
1,
www.mon-
at:
tana.edu/ msuinfo/jobs/ faculty or contact Jean Tabbert,
MT
State Univ., Box
174120 Bozeman, MT 59717;
[email protected]; (406) 994-5884;
SEEKING INSTRUCTORS:
College's Film
jtab-
994-4591.
fax:
&
Community
Central
Seattle
Video Communications program seeks
full-
time &/or part-time instructors to teach advanced, 2nd-yr

students single
for film
LOCATION SOUND: Over 20
MAY
the advanced degree
ADA/EOE/AA/VetPref
dent uprising. Equipment maintained by Sony. (718) 278-
7869;
recognized at a nat'l/int'l level as
extensive
Nicaragua, Tiananmen Square stu-
Beirut, El Salvador,
who have been
sound exp. w/ timecode

tion
&
TV,
&
multiple-camera TV production, directing
postproduction for film
management &
&
video,
and produc-
budgeting. Positions req. serving as
Nagra & DAT, quality mics. Reduced rates for low-budget

faculty advisor for student portfolio projects. Duties incl.
projects.
&
Harvey
Fred
Edwards,
(518)
677-5720;
collaborating
w/ the Assoc. Dean, program
faculty
&
[email protected]
Advisory Committee to keep program current
PRODUCTION TEAM:
Providing services
budget preparation
postproduction supervision. Help
to
ranging from
your feature, short, video or commercial. Reduced
for
rates for low-budget projects.
(718) 322-
Films:
A.L.
WEB DESIGNER
rates.
Also
creates
standards
degree
&
your homepage.
Reasonable
(212) 226-1526;
rlp@
Comm.
Teaching exp.
Strong computer
production
&
in
post-sec-
curriculum design
skills related to
video industry. Strong conceptual,

skills in
in
creative
&
the film
postproduction. Knowledge of produc-
management, operations, budgeting, and union &
regs. Solid foundation in
the production process
Gigs
ASSISTANT PROFESSOR WANTED: Tenure
knowledge
of
all
aspects
of
&
creative
&
a high degree of
achievement as
&
appl.
John McMahon, Assoc. Dean,
dead-
Comm. &
Design Division, SCCC, 1701 Broadway Rm. 3176. Seattle.
WA
98122; (206) 344-4340; [email protected]
making the short film; MFA;
significant recognition; teaching experience. Duties: Teach
3 courses; check out equip.
62
THE INDEPENDENT
guild
technical aspects of
track position
filmmaking, Aug. 2001. Qualifications: Thorough work-
ing
all
a visual communicator. For open positions

lines, contact: Dr.
in
WliHiMMiM
&
technical
csi.com; http://rlp.homepage.com
Opportunities
212 255 2564
or related discipline, plus 5 years
ondary education w/ documented exp.
& development.
web maintenance.
industry
developments. Min. Qualifications: Bachelor's
Film, TV,
of full-time, relevant pro exp.
tion
PICTURES
in
w/
& maintain
labs; direct grad-
uate students; advising; committees. Salary

rate
w/
experience.
Submit cover
letter,
teaching philosophy, curriculum vitae,
list
commensu-
statement
of
of 3 references,
SAVE ON CLASSIFIEDS.
Check out our new frequency discounts
& reduced rates
for AIVF members.
in
NYC
cameramen and soundmen w/
solid
WELL-ESTABLISHED
seeking professional
camera group
freelance
& sound
post services: picture
16mm mag
screening,
editorial,
ADR,
16mm
xfers (,06/ft),
interlock
(212) 868-0028.
edgecoding
MEDIA 100 EDITOR/POSTPRODUCTION SUPERVISOR:

Betacam video experience
to
work w/ our wide array
of
(.015/ft). Call
Tom (201) 741-4367.

Eight years cutting docs for broadcast,
clients.
COA
qualified contact
If
at (212)
PBS. Excellent
505-1911. Must
AVID EDITOR;
18 feature films,
theatrical
trailers.
refs.
Linda
Peckham (718) 398-3655.
have video samples/reel.

Additional credits with: TV, short films, industrial, promos.
Preproduction
Fast, creative, technical, friendly. Fully
Development
equipped suite
PRODUCER WITH PRODUCTION OFFICE

budget features
downtown
prestigious
to
prod. co. looking for
themes. Credits
Bravo, IFC
number
& many
to:
incl.
others.
MTV Award,
comedy
BRODSKY & TREADWAY
Star Trek TNG,
Film-to-tape masters. Reversal
only.
Regular
8mm,
early
B&W &
Kodachrome. Scene-by-scene
Send treatments only & phone
production
York. Will provide
personnel.
super
8, or archival
16mm. We
frame
295-7878
or
wired
all
love
PRODUCTION OFFICE: West

only.
at (212)
Call Val
85th
NYC,
in
fully
Correct
dubbing, animation. Avid room as
948-7985.
rates. For appt. call (978)
needed. Short- or long-term. Dana (212) 501-7878
SCRIPTS WANTED; Producer

24P
Definition
facility
with complete Sony High
DVD AUTHORING:
DVD
Full
project
seeks profitable projects to produce

system, compression, encoding,
or co-produce. Feature films, episodic television or
docu-
replication for your film.
We
PRODUCTION TRANSCRIPTS:
are nice people and
have very reasonable
pricing. (212)
Mechanic:
We
provide
&
prices
hr,
flat rates
1-on-l interview
only $70. www.productiontranscripts.com for details or
EDIT/SHOOT
SAN DIEGO:
IN
(888) 349-3022.
Discreet Edit 5.0 non-linear
PROFESSIONAL VIDEO COMPRESSION
screenplay/treatment/synopsis/
presenting
for
system. 90 gigs memory, component Beta, DV, S-VHS.
films-in-progress
include:
The Movie
Low
A standard
NY NY 10001.
call:
Doctor,
length.
563-4589; 245 W. 29
is
St.,
Verbatim transcripts for
etc.
we
based on tape
www.allinone-usa.com
222.
creation, authoring
documentaries, journalists,
and
x.
management. Spruce
menu
mentaries. Contact Derek at (212) 868-0028 for details;
SU-CITY PICTURES: The Screenplay
bud-
shorts
Video,
[email protected]
office equip, Beta, 3/4"
[email protected]
New
in
Drina (212) 561-0829.
and feature experience.
innovative indie screenplay. Edgy drama, music,

or sci-fi
produce
Credit cards accepted.
location.
geting/scheduling,
SCREENPLAY WANTED; Connected
looking for low
in
Studio
insight/analysis.
credentials
Miramax & Warner Bros. Competitive
Betacam & DV
field pkg.
Sony D-30/PW3 &VX2000.
work over the

film festivals
Low
rates.
&
clients incl.
Full
rates.
audio, graphics, etc.
Internet. Years of experience
& independent filmmakers. Discount
for
AIVF
(800) 497-1109;
Call
members. Contact: [email protected];
Brochure: (212) 219-9224; www.su-city-pictures.com
www.peteroliver.com
www.randomroom.com/compression
FINAL CUT PRO: Rent a
POSTPRODUCTION
trict
w/ 24
hr access.
private edit suite
in
financial dis-
TWO CHEAP
AVIDS! Great
rental prices.
Media Composer
12 hrs b'cast quality storage,
XL1000, Chelsea location: (212) 242-3005. Avid 400
16MM CUTTING ROOMS:
8-plate
equipped rooms, sound-transfer
Downtown, near
rates. (212)
all
&
facilities,
subways & Canal
fully
Photoshop, AfterEffects. Also, rent b'cast quality DV hid-
24-hr access.
den camera pkg: $250/day. Jonathan, Mint Leaf Prods:
6-plate
St.
Reasonable
925-1500.
UNCOMPRESSED
(212) 952-0121 X. 229.
MEDIA 100 EDITING Broadcast
ture
&
16mm pic16mm/35mm
only $100/hr. Interlocked
tracks mixed to 16 or
35mm
fullcoat.
Huge storage & RAM. Betacam,
quality,
COMPOSER:
3/4",
Fastest Avid
all
the ameni-
newest software.
all
Blue Ice board, After Effects, Photoshop,
Illustrator,
DV formats, Sdigital
VHS, Hi-8.
AVID MEDIA
on the block! A comfortable large room with

ties.
16MM SOUND MIX
Great location, friendly environment
&
audio
board,
video
projector,
too.
Production
low
Central (212) 631-0435.
rates, tech support, talented editors
&
fx artists available:
POSTPRODUCTION
PRODUCTION
DUPLICATION
DVD Independent Special

includes encoding, authoring
5 min.
$800
60min. -$1750
& one disc
30 min.
$1 200
90 min.
$2000
Media 100 Editing

Production Packages
Video Duplication
Transfers & Conversions
We're
one stop
digital
video house
with camcorders, cranes, lighting units
&
5.5,
Beta Deck, 36GB, Upper West Side: (212) 579-4294.
Film Festival Duplication Special
Discreet Edit Suite.
20 VHS Tapes
Hello World Communications

118 West 22nd Street MYC 1001
1
212.243-8800 fax691-6961
w/sleeves & labels

Independents
Only
January February
200]
THE INDEPENDENT

www.aivf.org
This
frorn the director
what seems too often
is
to be lost in
the indewood "hype."
My most vivid memory of last year's

Sundance festival is of the audience
AIVF
is
proud to hype those film and
videomakers that are resolutely indepen-
make work
dent; those that
umentary, El Valley Centre Very few view-
came up, they

awestruck. The questions
not profit, and distribute by any

means necessary. We hope that in 2001
even more of these artists will have the
opportunity to screen their work for audiences, and thereby spark new possibilities.
most viewers
Elizabeth Peters
which can be
selection
Program
rare for a Frontier
and
as the lights
seemed palpably
that ensued indicated that
of
Docs
be presented during
will
the entirety of the Sundance Film Festival
response to James Benning's exquisite doc-
ers left the theater while the film ran
House
first for
pas-
sion,
(January 18-28) and will offer informative

panels, discussions,
as a great place to
and resources,
as well
hang out with your non-
fiction fellows!
THE CLERMONT-FERRAND
SHORT FILM FESTIVAL

Wlien: January 26-February 3
FFI: www.clermont-filmfest.com
were previously unfamiliar with Benning
and
how can you
get
distribution?"
They seemed thunderstruck by the idea

that a filmmaker would attend Sundance
for reasons other than making a sale.
Which hearkened back

ing night plea to
tacular view of worldwide cinematograph-
ATOM FILMS
ic
Wlien: Thurs., January 11, 6:30-8:30 p.m.
Free/AIVF members;
$10/general public
that
"it's
FE1/RSVP-. 212-807-1400
Atom
new kind
is
301
x.
pany that acquires the best short
of hype."
animations through top
can (and should) open up new

ties, for
possibili-
the audience as well as the maker.
in
airlines,
and
wireless
reach.
They
ATVTF
ning,
FILMMAKERS' RESOURCE LIBRARY

ly
The AIVF
office
is
304 Hudson
located at
(between Spring & Vandam) 6th

City.
St.);
Subways:
A (Canal
Library
1,
9 (Houston
St.).
magazines
in
St.); C,
New
E (Spring
of print
sitions
Executive;
Atom New
answer
all
all sizes
Megan
O'Neill,
VP
of
Long, Acqui-
Patrick
and others from the
York office
will
attend and
AIVF AT
SUNDANCE 2001
2-5pm
est.
BY INTERNET: WWW.aivf.org
[email protected]
64
THE INDEPENDENT
INDEPENDENTS
When: Tues., February 6, 6:30-8:30 p.m.
Cost: $10/AIVF members;
$20/nonmembers
FFI/RSVP: 212-807-1400
x.
301
CPAs Martin
&
Bell (Bell
Steve Cooperberg (Todres
&
Co) and
Rubin) in a
discussion ot filing your taxes as an inde-
HOUSE OF DOCS
pendent contractor or a small business.
When: January 18-28

FFI: www.sundance.org
Members
House of Docs was designed
to cultivate
pants
in
the
dialogue between established and emerg-
Program and
ing nonfiction filmmakers, industry lead-
on
ers,
and the
public. This
encouraged to bring their
are
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Recorded information available 24/7;

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IN BRIEF:
TAXES FOR
Join
and electronic
212-807-1400
February
and
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BY PHONE:
filmfest.com.
your questions./
from essential directories and trade

to
further information, visit www.clermont-
pilots.
Relations;
St.
York
like
like
which "should have a beginmiddle, and end

but not necessari-
Artist
Meanwhile,
over 3000 shorts to potential buyers. For
distribution,
are seeking shorts of
in that order."
films; a
and
and new platforms
and even palm
French
and retrospectives
of programs
film
Our Filmmakers' Resource
houses hundreds
resources
fl.,
traditional
from 50 countries; the National
to a sidebar of Fetish Films.
genres,
all
HOURS: TUES.-FRI. 11-6; WED. 11-9
films
festivals,
and submissions from all over the

world. They market them to hundreds of
partners
the
the parallel Short Film Market will present
schools,
TV
includes
featuring over 70
cover subjects from a Chris Marker Tribute
of entertainment com-
pen;" a point that can be "lost in the swim
means. At the same time, any screening
shorts
variety
all
Benning's screening was an end, not a
Clermont
creation.
Festival screens about 70
to Redford's open-
remember
major
MEET & GREET:
about
films,
to co-sponsor this
International Festival,
Cost:
how through synersomething wonderful and new can hap-
about the
happy
is
international festival that provides a spec-
audience members got hung up on,
"...but
gy
AIVF
January
work. After expressing their admi-
his
ration,
second year of
Both CPAs
AIVF
offer discounts to
a year-round basis.
to forge
new
are partici-
Trade
Here
relationships!
is
Discount
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your chance
THE ASSOCIATION OF INDEPENDENT

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Special
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Businesses across the country offer
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new
experimental media,
The Association of Independent Video
including
and Filmmakers (AIVF)
technologies, regional activity,
a national
is
membership
organization
3,000
committed opinionated
and
diverse,
fiercely
over
of
independent film- and
videomakers. AIVF partners with the
Independent Video
Foundation for
and Film
nonprofit
(FIVF), a 501(c)(3)
offering a
broad
slate of education
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members
receive discounts on
as
well
mention in each
issue.
advertising
and
and non-
non-fiction work. Business

profit
special
as
FIVF publishes a series of practical
on
international
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and exhibition
books
venues, offered at discount prices to
you
To succeed as an independent
I
need a wealth of resources, strong
and the best information

Whether through the pages
connections,
available.
magazine. The Independent
of our
Film 8r Video Monthly, or
through
the organization raising its collective
to
voice
advocate
ATVF
issues,
for
important
your
preserves
independence while reminding you
members
(see the other part of this
insert for a
Filmmaker
City
Resource Library houses information
on everything from preproduction to

sample
contracts,
the
to
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We
referrals,
calls
provide
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hundreds
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the
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J FILM & VIDEO MONTHLY
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8c
Special events covering the whole
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from
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issues
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COMMUNITY
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provide
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These
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To find the salon
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Stay connected through www.aivf.org

featuring
ih 7
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Looking for a Distributor?
MEET & GREET:
THE JEROME FOUNDATION

When:
The University of California Extension
t.b.a
members; $10 gen. public

FFI/RSVP: 212-807-1400 x. 301
Cost: free/AIVF
The Jerome Foundation makes
grants to
with
85 years
is
a leading educational
distributor,
of experience selling to universities, schools, libraries,
health organizations,
Ifyour new work
is
and other
institutions
worldwide.
ready for distribution, give us a
call.
support the creation and production of new
works by emerging
artistic
and conadvancement
artists,
tributes to the professional
of those
Grantmaking decisions
artists.
University of California Extension

510-643-2788
reflect the foundation's belief in the vigor-
ous and distinctive voices of
artists
[email protected]
http://www-cmil.unex.berkeley.edu/media/
whose
works challenge our thinking and add
meaning
Jerome welcomes
to our lives.
work that embodies
a celebration of
and
respect for diverse cultural perspectives. In

its
focus
on emerging
artists,
the foundation
seeks to encourage the potential for inno-
vation and excellence. Program Officer
Robert Byrd
will discuss
Jerome's funding
^ TOTAL POST SOLUTIONS
INDEPENDENT
DIGITAL
program and answer your questions about

putting forth a strong application.
DOCUMENTARY DIALOGUES
When:
February 20, 6:30-8:30 p.m.
Tues.,
& Goldfish reception follows!
Wine
AIVF members
Cost: $5
FFI/RSVP: 212-807-1400
x.
301
Documentary Dialogues
is
discussion group comprised of

fiction filmmakers. Topics
bi-monthly
AIVF
and approaches
to
independent
on time
non-
encompass the-
and philosophical perspectives
oretical
film-
ik
on budget
and
videomaking. For further information on

this
month's program,
call
the events hot-
www.aivf.org
line or visit
AIVF
it
on
quality
CO-SPONSORS:
SELECT SCREENINGS PRESENTED BY
THE FILM SOCIETY OF LINCOLN CENTER
AIVF members may

for just
$5 per
attend specific films
ticket! Please
show mem-
bership card at box office. For program

info,
contact the Film Society box office at
(212) 875-5600 or www.filmlinc.com

Jan. 5-11: Jean-Luc Godard's
& Keep
Up
Your Right
Jan. 12-13, 19-20:
Jan. 14-25:
New
Jan. 26-Feb.
Feb. 2-8:
Dance on Camera
Festival
York Jewish Film Festival
Emmanuel
Finkiel Voyages
Elem Klimov's Come and See
Feb. 9-15: Animation of
Feb. 16-22: Slovak

Feb.
Weekend
23-March
8:
Chuck Jones
http://www.indidigital.com
310-581-8800
Cinema
New
Chinese Cinema
THE INDEPENDENT
65
The AIVF Regional Salons provide an opportunity for
Center, 1520 Euclid Ave.
New
members
Contact: Jon Stout, (303) 442-8445;
Contact: Allen Chou, (732) 321-0711;
programmingfft'fstv.org
[email protected]; www.passionriver.com
to discuss work,
meet other independents,
share war stories, and connect with the AIVF

nity
across the country.
www.aivf.org for more
salons section at
Visit the
info.
commu-
Be sure
contact your
and
When:
Last Thursday of each
6:30-8:45
pm
Where: Charleston County Library Auditorium,

68 Calhoun
Albany, NY:
Wed. of each month, 6:30
Contact: Mike
6k Music,
Camoin
pm
(518) 489-2083;
Contact: Beth Harrington, (360) 256-6254;
filmsalon(S'aol.com
[email protected]
OH:
Rochester, NY:
Contact: Annetta Marion and Bernadette Gillota
mikefu'videosforchange.com
at the
TX:
Ohio Independent Film
Festival, (216)
[email protected]
San Diego, CA:

Dallas,
afs('austinfilm.org
TX:
Contact: Paul Espinosa, (619) 284-9811;
Contact: Bart Weiss, (214) 999-8999;
GA:
of the month, 7
pm
Where: Redlight Cafe, 553 Amsterdam Ave.
x. 12;
[email protected]
[email protected]
When: Second Tuesday

Contact:
Contact: Kate Kressman-Kehoe, (716) 244-8629;
Contact: Austin Film Society (512) 322-0145;
Atlanta,
OR:
Portland,
Wolf Rd.
Cleveland,
Contact: Dominic Giannetti, (561) 326-2668;
[email protected]
St.
Contact: Peter Paolini, (843) 805-6841;
Where: Borders Books
Austin,
month
loca-
tion of the next meeting!
First
Palm Beach, FL:
Charleston, SC:
to
local Salon Leader to confirm date, time,
When:
Brunswick, NJ:
Mark Wynns, IMAGE,
(404) 352-4225
Tucson, AZ:
Lincoln,
NE:
Contact: Heidi Noel Brozek, [email protected];
When: 2nd Wednesday

Where: Telepro, 1844
markta'imagefv.org
of the month, 5:30
pm
Rosarie Salerno, [email protected];
Street
http://access.tucson.org/aivf/
Contact: Dorothy Booraem, (402) 476-5422;
Birmingham, AL:
Contact: John Richardson, johnwrta mindspring.com
Boston,
[email protected];
Washington,
www.lincolnne.com/nonprofit/nifp/
Contact:
MA:
554-3263
Contact: Lee
Lew
Lee, aivf_la(5 pacbell.net
AIVF has
Milwaukee, WI:
CO:
When:
activist screenings:
When: Second Thursday
1st
ted
Wednesday of the month
of the month, 7
pm
resources to assist enthusiastic
members who wish
community. Please
Contact: Brooke Maroldi, (414) 276-8563;
Where: Rocky Mountain Peace and
call
to start
a salon
and commitin their
(212) 807-1400
x.
e-mail [email protected] for information.
www.mifs.org/salon
Justice
ANCHOR/
NEWS DESK
SETS
--llLVlLqq'IC'B
VIDEO-
CONFERENCING
SATELLITE
VIDEO
MEDIA TOURS
CORPORATE
VIDEOS
LOCATION
CREWS
Satellite
services
EDITSUITE
NTV
is
a division of
NTV
International
Corporation
CONTACT:
ElyseKabinowitz 212-489-8390
Supports Avid, Premiere, Final Cut Pro, Media 100 and EditDV
Tracks
all
THE INDEPENDENT
the elements of the finished film
Outputs negative cut
ystems
NTV STUDIO PRODUCTIONS

50 ROCKEFELLER PLAZA
NYC 10020
66
x. 4;
Los Angeles, CA:
[email protected]
Monthly
hotline, (202)
[email protected]
Contact: Fred Simon, (508) 528-7279;
Boulder,
DC:
DC Salon
Inc.
www.filmlogic.com
lists,
optical
lists,
pull
in its on-line
lists,
dupe
lists
database
and more
designed for filmmakers who are shooting 35mm

and want to edit electronically while finishing on
film. Not another editing program, FilmLogic is an application
which works with popular digital non-linear video editing systems.
FilmLogic
or
16mm
is
film
Call Focal Point
Systems,
Inc. in
the
USA
toll-free at
877-209-7458
2000 Focal Pom! Si-stems
inc.
own
236 or
(WÊS
u& ia9
MEMBER BENEFITS & TRADE DISCOUNTS
AIVF
AIVF offers many benefits
to
our members.
Teigit (for
For complete details, including point persons,

contact information, and discount codes,
number
to
in
DuArt Film and Video (New York, NY)

Discounts on color negative developing, workprinting,
limited states.
blow-ups and
visit
must provide your memlog on) or call (212) 807-1400
www.aivf.org (note: you
bership
CIGNA health plans)
CIGNA health plans coverage
Dental Insurance
titles.
I-Stream TV (New York, NY)
Bader Associates
10%
Teigit/Cigna
Lichtenstein Creative Media (New York, NY)
off
Encoding
into
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or RealVideo
file.
x 506 to have a Benefits List mailed to you. This

information
to
was
last
change without
updated 11/00 and
is
subject
15%
notice.
Stock
New
Hotel
with
Discounts!
rooms with Choice Hotels
Bono Films; Encoding
Int'l;
Stedicams
Film processing with
for internet
Group;
Final
Rubin, CPAs
who appreciate
Discounts on Classified ads

For Business
&
Located
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only: AIVF
NYC
Members
in
indie media!
The Independent
Edgewood Motion Picture Studios

25% off production packages.
office.
in
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Seats 20, with vcr and 32" monitor.
only: short-term
desk rental
Rent a desk and voice mail box at our SoHo
(Rutland, VT)
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25%
rent.
10%
office.
15%
10%
Communications (New
discount for walkies, audio
35%
discounts on edit
Special discounted rates on a variety of insurance plans

with the following companies:
C & S International Insurance Brokers
CGA Associates
The JLS Group
Marvin
S.
Kaplan Insurance Agency
video postproduction services
(New
York, NY)
postproduction and graphics services.
all
&
York, NY)
10%
video packages.
(Mill Valley,
facilities
discount on editing services and
facilities.
Discounted film scoring services.
Media Group (New York, NY)
discount on Avid rentals and post services.
Diva Edit (New York, NY)
10%
discount on Avid editing services and
facilities
Downtown Community TV Center
CA)
Discounts on workshops, Avid & DVC rentals.
& production packages.
Production Central (New York, NY)
DV8Video, Inc. (New York, NY)
10%
Discounts on Avid services, and duplication.
discount on first-time Beta-SP deck rentals
Public Interest Video Network (Washington, DC)
Production Insurance
all
Digital (at Atomic Pictures)
discount on
City Lights
discount on Ikegami and BetaSP equipment rental.
Group
discount on
Brass Rail Music (New York, NY)
discount on body mounted stabilizer systems.
Mill Valley Film
Postproduction
Bee Harris Productions (New York, NY)
& NY)
discount on extensive range of equipment rentals.
Hello World
&
Post (Aries Media Group) (New York, NY)
Baby
York, NY)
Nonprofit members:
Discounted Display ads
Members
Editing
15%
of folks
York, NY)
Glidecam Industries (Plymouth, MA)
list
10%
discount on camera rental packages.
Edgewood Motion Picture Studios (Rutland,

35% off Avid or Protools; studio or to go.
Soho Audio (New
York, NY)
ENTV Studio Productions (New
10%
audio equipment rentals.
10%
discount on
all
discount on
all
GLC Productions (New
10%
10-30%
discount on film camera packages.
York, NY)
York, NY)
discount for audio post-production services.
Yellow Cat Productions (Washington, DC)
Harmonic Ranch (New
15%
Discounts on sound editing, music, mixing
day video shoot.
Hello World
York, NY)
Communications (New
&
design.
York, NY)
Homeowners & Auto Insurance
Labs & Transfer Houses
CGA Associates
Bee Harris (Mt. Vernon, NY)
Island
Media International (New
10%
50%
Avid editing; sound mix, design, editing;
discount on film and tape transfers and duplications.
Health Insurance
Bono Films
Bader Associates
10%
Discounts on various plans.
10%
(Arlington, VA)
discount on normal processing.
Cinepost (Atlanta, GA)
discount on nle system.
off
York, NY)
DVD/CD
authoring, packaging, duplicating.
Media
Loft
5%
VT)
editing services.
Texcam (Houston, TX)
off full
and
and foreign video conversion.
AMG
20%
transfers; titles
video services, editing, duplication, film-to-tape
Discounts on workshops, Avid & DVC rentals.
Film Friends (FL

programs offered or
off
transfers,
Consulting on insurance; DVCs for purchase or
& Events
Reach a core group
10%
Emporium (New
York, NY)
Rafik (New York, NY)
Production Resources
Film
& Video (New
film-to-tape transfers; video editing.
f/x;
NY)
Downtown Community TV Center (New
co-presented by AIVF across the U.S.
AIVF Mailing
Tape)
discount on film and videotape purchases.
Discounts on FIVF Published Books
of
&
10%
Drama Book Shop;
Discounted admission to dozens
(formerly Studio Film
Magno
AIVF Offers
AIVF Programs
Edgewise Media
Link, Inc. Film
OK TV, Inc. (New York, NY)

10% on all services: dailies, sound
Media
Productions; Legal services with Ivan
&
video and audio tape.
IL,
Cut Pro rental with Mint Leaf
Financial services with Todres
Magno Lab
(CA,
rentals with City Lights
Saperstein; Price breaks at
off film,
discount on DV to Beta dubs.
Special rates on developing, printing, sound, transfers.
York, NY)
streaming with
l-Stream TV; Processing & transfers with
Lab Link; Avid
10%
Expendibles
Emporium (New
Film
Glidecam Industries;
&
(New
York, NY)
discount on editing,
titling,
dubbing,
special effects, and more.
RBA Insurance Strategies

Offers a
20-30%
discount with HIP (NY only)
Discounts on negative film processing, film-to-video

transfers and
DVD
copies.
Mercer Media (New
50%
York, NY)
discount on audio services and video editing.
THE INDEPENDENT
67

Independent Video and Film (FIVF), the educational affiliate
of the Association for Independent Video and Filmmakers (AIVF), supports a variety
of programs and services for the independent
media community, including publication of The
The Foundation
for
T*V*W"1Tf*Mtm
Independent and
seminars and workshops, and

information services. None of this work would be possible without the generous support of the AIVF membership and the following organizations:
The Mary Duke Biddle Foundation
^
1
a series of resource publications,
The John D. and Catherine

MacArthur Foundation
The Chase Manhattan Foundation
"
The National Endowment
Forest Creatures Entertainment, Inc.
York City Department of Cultural

Affairs: Cultural Challenge Program
Flora Hewlett Foundation
New
LEF Foundation
NYSCA
for the Arts
New
Heathcote Art Foundation
The William and
T.
York Foundation for the Arts:
TechTAP
Albert A. List Foundation, Inc.
New
York State Council on the Arts
35%
also wish to thank the following individuals
BllSineSS/lndUStry
Members:
and organizational members:
Action/Cut Directed By Seminars; Dr. Rawstock; Eastman

Kodak Co.; Film Society of Ventura County; Focal Point Systems, Inc.; Forest Creatures Entertainment Co.;
Idea Live; Marshall/Stewart Productions, Inc.; No Justice Pictures, LLC; ProMax Systems Inc.; Somford
CA:
15%
off Final
Cut Pro Edit System
MA)
(Springfield,
10%
discount on negative cutting services.

10% on titles and f/x; video editing.
One
Art
10%
discount on Avid rentals.
(New
York, NY)
Outpost Digital (New York, NY)
10%
discount on editing suite rentals
The Picture Room (New York, NY)

discount on Avid rental and editing services.
Picture This Music (New York, NY)
10-30%
audio postproduction
off digital
The Post Office
Entertainment Corp.; Archive Films, Inc.; Asset Pictures; Bagel Fish Productions; Bluestocking Fiims, Inc.;
The Bureau for At-Risk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra Films; Cypress Films;
Deconstruction Co.; Trudi DeSouza; Dekart Video; Dependable Delivery, Inc.; DMZ Prods.; DV8 Video
Inc.; Earth Video; Ericson Media Inc; Fireballs Films, Ltd.; Human Relations Media; Hypnotic; Inkling
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THE INDEPENDENT
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27th November: 2000.
MITCHELL: CONTINUED FROM PAGE 39
we have
to look at
as
it
AVID EDIT SUITES
a possibility.
OFF LINE /ON LINE/3DFX
*!
HBO
Because
pay cable, they are a
is
dif-
ferent demographic, representing a dif-
window
ferent [distribution]
We
duction.
need
do
to
keeps our content the way
Sharing editorially
And
I
it
that
needs to be.
difficult.
pay services count on being
first.
don't have any [co-productions] that
we've been able to figure out
was one project

nership with
It
way
going to be
is
HBO. We
first.
But
quality
of
at the top
on
V-O. Rnnth /Rpnrl Tn PiMiitp
v^s^nw
to|u^|
--
xuiMzmm
VOICE
212.244.0744
it.
1D4WEST 29THST| NY 1DDD1
FAX
212.244.0690
too good,
It's
up being
to give
my
priority
list is
and new thinking. Something
come along
VIDEO
0NTRA(
There
yet.
hit the wall
want PBS
didn't
Grafix Suite/After Effects

Audio Design/Mixing/Protools
couldn't get by that
for this particular project.

I
took as a possible part-
was expensive.
and
for a pro-
in a
it
J^ J
will
that will be right for that
kind of cooperation
[Before this story
announced
went
newsmagazine
Nightline for Life in Bold, a
about
heroes; gave the green-
real-life
new
27
light for
PBS
ABC's
to press,
a collaboration with
episodes of American
High to be produced with 20 th Century
Fox Television
news
(see
13);
children's
drop -in of segments produced
series for
by local
story pg.
ZOOM
and restructured the
member
What about
stations.]
global markets?
I'm spending a lot of time on this because

I
I
have a
of experience internationally.
lot
developed a big international business
at Turner,
but the international market
is
getting tougher too as their marketplaces
have more choices.
hope we can
figure
out an overall system strategy to bring
more money with
a bigger international
co-production deal.
tional
money
would be addi-
It
available
for
project.
make
Instead of you having to go
inter-
national sales calls and do things you're
not set up to do in terms of infrastructure,
done
that could be
for
you and
shared with you.

I
come here because I wanted a

didn't come here to "man-
didn't
better job.
age"
PBS.
took
this
job
because
believed there were changes that were
needed.
I'd
just
like
to
tell
you that
things have changed!

Patnc Hedlund
article
is
a producer and writer.
Her
"Following the Breadcrumb Trail
through the PBS Jungle" is available to AIVF

members at www.aivf.org. An expanded version
is
available through xvww.forcsts.com/breadcntmb
l.uui.us
Februan
2001
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A Publication
2001
$3.95 us $5.25 can
03
"74470"801
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H"
of
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March 2001
VOLUME
Editor
NUMBER 2
Thomson
Chief: Patricia
in
24,
www.aivf.org
[email protected]
Managing
Baimbridge
Editor: Paul Power, Richard
[email protected]]
Assistant Editor: Scott Castle
32 Christopher Nolan's
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36 Dream Makers
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Printed
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Services
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in
After La Ciudad played in

Library subscriptions are $75/yr. Contact: AIVF,
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York arthouses,
director set
its
out to rerelease the film in Latino
offices.
and
sections of the city
VA0
NiTI ,
lie
!"""tl
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may be
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contents are copyright of the Foundation for Independent Video and Rim,
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Inc.
appearance
in
The Independent. The Independent
Press Index and
is
member
Foundation
is
indexed
in
the Alternative
&
Film, Inc.
2001
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, administrative director; Michelle Coe,
tor;
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*riVF Board of Directors only.
THE INDEPENDENT
March 2001
officio),
Weiss.
offers his
distribution blueprint here.
York State Council on the Arts, a state agency
and the National Endowment for the
of
made
New
NY 10013,
David Riker
Upfront
4
Editor's Note
Letters
News
The
latest
AMPAS's
convolutions in
rules for qualifying
shorts for the Oscars;

Press, a
new
story-idea service;
911 takes the lead in
Seattle's
streaming media; theme nights

at
ZDF.
by
Departments
Off the
Technology
27
What
to look for in a radio
mic, plus tips for properly
attaching a lavalier.
Scott Castle;
Larry Loewinger
by
Jim Colvill;
Shannon Gee;
Claus Mueller
15
Skurnik's
& Jonathan
A
Day's Work,
Day's
Steven Fischler &Joel
Sucher's From Swastika
to
Jim
Crow; Hannah Weyer's La Boda.
by
Info
43 Distributor FAQ
Profiles
Kathy Leichter
Pay;
FAQ &
Richard Baimbridge;
MediaRights.org provides onestop shopping for organizers
looking for social-issue films
and
for
activist
filmmakers looking
like-minded organizations.
BY LlSSA GlBBS
Aaron Krach;
Jerry White
Funder FAQ
46
20
Festival Circuit
Gettin' funky with L.A.
Freewaves; Dublin's
new
Doclands market and
fest;
indigenous films galore at
Film Arts Foundation, a vital

source of funding for Bay Area
mediamakers, has
five different
grant programs.
by
Michelle Coe
IMAGINENative; an
experimental
fest
debuts at
49
Festivals
M.M. Serra;
54
Notices
Donal 6'Ceilleachair
58
Classifieds
Telluride.
by Jim
Moran;
Faye Ginsburg
@AIVF
61
Events
62
In
& Out
of
Production
by Jim
63
Colvill
Salons
Cover: Guy Pearce
Nolan's
in
Christopher
Memento. Photo by Danny
Rothenberg
M.uvh AVI
THE INDEPENDENT
D
HEN
ASKED WHAT
I'M
from other film magazines,
tend to answer
When
the question with a question:

last
The Neu school
ster
arts
of
Or
activism in those magazines/
video
art?
How about youth media? Or censorship,
the
culture wars, telecommunications, film hinders, self-distribution, or archival research?
The
Media.
les
the
is
time you saw a story about media
list
goes on. This magazine
bership
our
core
tor in the
same
enterprising
What
is
embedded
new
unusual
one
is
on some
activist.
two ideas
to find those
project. In this issue, we're
two such
spotlighting
not
it's
indie direc-
issue as a story
documentary
in
So
readers.
unusual to see a profile of a
tries to
AIVF's mem-
reflect the diverse interests of
in
Dis-
The Independent
tinguishes
both of which
cases,
unite dramatic feature filmmaking with an

activist mentality.
Producer
Julia Reichert writes
about the
making of The Dream Catcher and how they

used
about troubled youths to
this feature
reach out to teens in prisons and juvenile

detention centers
.HCORY,
process
relates
DCSIGN, CRITICISM,
option:
M.fi. FULLY
during
And
how he used
ing techniques
0N-LIN6
>
and some new ideas about
But neither forgot
their political roots
on-site and on-line courses
learned in the documentary arena. Both

instances
show
nor the practical lessons
that these worlds need not
be so separate.
number of other
activist projects are
A Day's
A Day's Pay by Jonathan Skurnik and
also profiled in this issue, including
Work,
300 students from 35 countries
Kathy Leichter, who recruited the

jects
New
there's
MediaR
ights.org,
York
to
And
an exciting new
uuu.neuschooL.edu/medlastudLes/Lnfo17
makers who deal with
6 00 p
But
to
social issue media.
keep the mix, we also
to our idea of 'quality entertainment.' Every
ly
School University
then, an independently produced
12th Street
New York NY
sharp, inventive,
ceived.
New School
66 West
Memento
as particular-
and masterfully conone such
is
case.
While
working within the tradition of film
1O011
writer/director Christopher
to reinvent the genre
and
he
talks
script. In this issue,
lenges as a writer
a
noir,
Nolan manages
craft a superb
about
and director
good counter-example
fearing their
his chal-
and he
sets
for all filmmakers
sophomore slump.
Patricia
March 2001
our hats
tip
commercial feature jumps out
THE INDEPENDENT
City.
conduit to distributors and individual film-
now and
sub-
212 229 5^3 *74
___open house March 15 at
The
film's
campaign
as foot soldiers in the
reform workfare in
New
sur-
both authors worked in documen-
Film, audio, video, Neu Media
certificate
call to reQuest
a catalog
Not
the theatrical release of La Ciudad.

prisingly,
state-of-the-art facilities
ma or media management
>
David Riker
old-fashioned organiz-
tary prior to fiction film.

->
the production
director
distribution to reach Latino audiences for
MANAGCMCNT and
PRODUCTION
Neu
itself.
Thomson, editor
in chief
CO
30
CO
CO
CO
In
an industry so
camera may
same
And
time,
full of
changes, what's inside your
well be the
we
one certainty. Film. At the
realize the world
neither are you.
is
not standing
Our imaging technologies
still.
will
always evolve because you evolve. Your ideas fuel

the future.
And we're
all
about giving you what you
want. What you need. And then some. So you can

help keep the world turning.
And our hearts
Make an informed choice when
racing.
selecting your capture
medium. Visit www.kodak.com/go/story
for the
whole
story.
there's more to the story
from PBS and several small grants from
SHARE AND SHARE ALIKE
Arts Council,
To
the editor:
is
distribution allow
Not included
are
much
of the salaries and
PBS
which made the
sobering.
Nowhere
the percentages
in
entities:
Kartemquin
and
film,
KTCA,
our
some of
station partner. This represents
for
resources provided by Kartemquin Films and
the inherent problems for independents trying
the filmmakers during the course of a seven-
to
meet your needs, you don't pay; you
year project that involved nearly 200 days of
But
it
it.
Freeware
is
it,
you have to
software free of charge.
shooting and over two years of editing.
PA
more
like
Hoop Dreams, Chicago, IL
of revenue from the film. Here's the cor-
ERRATA
Arthur
Though he
is
one of the
In our coverage of the Independent Feature

(3
& William
& William's families
Arthur
High schools portrayed
Marx provided erroneous information

documentary case
study,
for
did not give us a
MacArthur Foundation provided

and most important
The
not
is
2%
of applicants." That
accurate for ITVS's
for
Open
35%
LInCS, which funded
cants in 2000 and
on screen time)
22%
but
Call,
of appli-
in 1999.
(0.80%)
In the "Solaris
(8.64%)
KTCA-TV
(36.48%)
Power" story [Jan/Feb 2001]
Seth Shire should have been credited
as post-
production supervisor on Tumbleweeds, not
Hoop Dreams may have

Fred
is
quoted
as saying,
hit "a
homerun,"
Eitan
as
but considering the
without which we could have never finished
enormity of the undertaking and the fact that
we received $50,000
the subjects participated in the income to a
the film. Additionally,
[December 2000], we wrote that
in film (3.2%)
Kartemquin Films
us with the
grant, $250,000,
"New Name, Same Old
Market,
"ITVS's LInCS funds
Secondary subjects
(based
grant for $375,000, but rather $70,000.
Market"
your
"Hoop Dreams: The
CPB
(2
Project
@ 8.64%)
@ 8.64%)
@ 3.84%)
figure
Ultimate Success Story" (November 2000).
and foremost,
(2
producers, Fred
film's
& Gordon Quinn

& Executive Producer,
Steve James
Director/Producer
percentages are wrong for the
Producers
editor:
public television system.
story.
$1 million.
Finally, the
split
another
that's
Add
rect division:
AIRBALL
work within the
those real costs in and the deferral total was
Goodman
Philadelphia,
largest
than
or days. If the software
Robert
First
more
bit
clear
taken by the production
you choose to continue using
To the
more
this
Films,
number of times
for
$140,000 that Fred
"out-of-pocket" costs that had not been paid.
simply delete the program from your hard disk.
pay
filmmakers was a
deferrals total of
in docu-
the financial rewards for the
provided refers to only the most significant
people to download the software and use
If
The
may be unprecedented
film,
not free software. Pro-
is
grammers who use shareware
doesn't
degree that
mentary
("Desktop Wizardry," January/February
2001), shareware
a set
Illinois
Regional Fellowships, and
few private donors.
Contrary to what's stated in Greg Gilpatrick's

article
NEA
whose
Hakami,
company,
Post
Production Playground, and Michael Williams

did additional post supervision on the film.
The Independent
regrets these errors.
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ensure and enhance the growth
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and
AIVF promotes
information. In these ways,
diversity
and democracy
expression of ideas
in the
communication and
and images.

1 The
Association
is
for
independen
and independence;
filmmaking
economics
is
it
more than
just a job, that
it
an'
goes beyond
human
values.
efforts
ol

is
dedicated to ensuring the survival and providing support
for the continuing
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4 The Association
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artistic
and
in
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vital
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exhibition of this
work
to the
community
at large.
S^S)
EDITED BY RICHARD
B A
BRIDGE
rescind
Docs Get
from the jaws of death by a
such
by
The Academy Grants Branch
and
Jeffrey
Michael
Katzenberg
criticizing
AIVF and
the International
Academy to reverse its

The new branch status
the
chronicling
won
II,
for Best
60 years and
as
film
of Great
days
early
Germany during
first Academy
Britain's defense against
World War
Award
the very
Documentary
many awards
Now,
Film.
docu-
later,
Document-
ary Association (IDA), helped convince
the
Churchill's Island,
Harvey
as
Redford,
Robert
the decision. This, as well as campaigns by
Scott Castle
1941,
the short
letter signed
leaders
industry
Weinstein,
Eisner,
Status to Documentaries.
In
in January of
Academy combined
and feature-length documentary categories. Again, the category was snatched
Their Due
by
Then,
decision.
its
1999, the
taries
unique in that
is
one governor,
governors
decision.
for
in contrast to
the three
who represent each of the other
and compile the board's 39

voting members. When the Academy
began in 1927, there were only five
mentary film was finally given its own

branch on the Academy of Motion
Picture Arts and Sciences' Board of
branches
Governors. This recognition of the histor-
The Documentary Branch's

governor, who will be selected in
ical
importance and ongoing
documentary film comes
of
vitality
end of a
at the
setback-riddled decade for the form.
have
"Documentarians
an
played
important role in filmmaking since the

beginning of the artform, whose
steps
first
were essentially documentary in nature,"

says
Academy
president Robert
Rehme
in
response to the decision. "By granting
branch status to our documentary

makers, the
Academy
is
film-
acknowledging
the continuing importance of the centuryold genre."
"This
is
member of the
Documentary Executive
who
is
Academy's
Committee (DEC) the group responsible
,
for securing the
time in
branch
Academy
status. "This
that's really great,"
formation
is
is
the
history that they've
acknowledged our strengths
and
he
as a
branch,
"Branch
says.
not easy for anybody.
Like
any other organization, things take time."

Considering
how
close
to
extinction
the documentary short subject category
has
come
recently, the decision could
not
be more timely. In 1992, the Academy's
Board of Directors opted to do away with

both the
and
writers
branch addition was
live -action
and documentary
shorts categories altogether, but an outcry
from the filmmaking community ensued,
and lobbying
efforts,
that unanimously
both awards,
including a report
recommended
persuaded
the
retaining
board
to
and the
have
election, will
full
last year's
of
Oscar for Best Documentary Short after
was
the category
reinstated.
However, in practical terms
single
a July
voting privileges
was limited
it
Southern California-based members,
to
since the screenings only took place in
Los Angeles. Now, the process involves
and allows
only documentary makers

videotape screenings.
The committee began
last
for visual effects in
1995.
overhaul by
its
recruiting approximately 80 documentari-
who were members of the Academy to

new prescreening process.
Split into four subcommittees, the memans
take part in a
and Documentary Executive Committee

Chairman Arnold Schwartzman doesn't
believe the single allotment reflects any
bers screen videotapes (which
Academy
ence) to reduce their individual pools of
documentary but
bias against
on keeping
the number of governors down. "I think
it's a step in the right direction and that
rather their prudent stance
only a matter of time before
it's
we
get
a notable
is
considering the Academy's
allowance,
adherence to the theatrical experi-
tight
12-15 films to three
The com-
finalists.
piled finalists are then screened to the
New
general membership in
York,
San
and Los Angeles, which must
Francisco,
three governors," explains an optimistic
see 10 of the 12 films before voting for five
Schwartzman.
nominees.
At the time of the

documentar-
a big step," agrees
ian Arthur Dong,
first
directors, produc-
for actors,
technicians,
Whiteford's film King Gimp, which
A.
only allotted
its
13 branches
ers,
was the subject
Hadary and William
won
documen-
Susan Hannah
Painter Dan Keplinger
initial
1 1
to
deci-
sion to eliminate the documentary category, there were
no documentary makers
on the DEC. Today's committee includes

such documentary luminaries as Arthur
Dong, Barbara Kopple, and Errol Morris.
In fact, nine of the 12 current members
are either
nees
Oscar winners or former nomi-
change welcomed by those in the
documentary community. "Now that the
Academy committee
pendent filmmakers.
have
an
Academy
mer IDA
is
.
made up
they hopefully can
on
influence
of inde-
the
way
views documentaries," says
the
for-
changes to the
to
the
DEC
made notable
documentary feature nom-
procedure.
has
Previously
this
was
any members (including non-doc -
umentarians)
stage requires
last
all
five
nominated
debuted
new
that
films
process
year and promises a more
last
democratic system in the future.

"This
the
is
first
year we'll bring that
process into the shorts

tried
worked
We
[category].
with the features
it
and that
first
really well," explains
Dong, who
was instrumental in pushing the changes

through.
"Now
a branch,
that the
will
it
have
processes, including
DEC
to
is
becoming
reexamine
who among
its
mem-
its
bers will qualify to vote for the award," he

adds.
Recently,
news came that the number
of qualifying documentary shorts dropped
Recently the
open
The
see
before the final vote. This
acting executive director Grace
Ouchida.
inating
members
who had
relentless
the time to tackle
screening
schedule.
20 percent
28
films.
in
The
2000, from a total o\ J5 to
reason
is
not from a short-
age of documentary shorts out

field
vals
a look at the
number
of
in
doc
the
festi
and submissions confirms that point.

seems to be due to the hurdles
Rather,
it
March 2001
THE INDEPENDENT

"Now
SUMMERS ARE INTENSE @ NYU
Academy committee
that the
is
made up
of
independent
filmmakers, hopefully they can have
an influence on the way the
Academy views documentaries."
Grace Ouchida
short documentaries face in qualifying.

it
now
As
documentary short must
stands, a
screen at least once a day for seven consecutive days in a commercial theater in
borough
the
Manhattan
of
Los
or
Angeles County to a paying audience.

easy feat.
By
have to screen twice

In 1995, the
No
contrast, fiction shorts only

daily for three days.
Academy voted
to
end
festi-
val screenings of documentaries for eligia
bility,
move
Docu-
the International
mentary Association countered by founding the Doctober festival,
which screens
documentaries with the required seven-
day required
was
later
HBO
LA
added
and the
run.
IDA
Frame -by-Frame
on the
When Manhattan
as a qualifying location,
began presenting the
festival, to qualify films
east coast.
Since the
lessens the
new
tiered judging
method
burden on judges from seeing
every film, there's a renewed effort to

allow films to qualify through festivals
but only
if
they win. "By requiring that
they be winners at these
festivals, there's
already a prescreening process done for

us,"
adds Dong. "That's
why
been
I've
fighting for the last couple years to allow
winners at
Oscar
festivals to qualify for
come
consideration, and that's going to
through next year."
With the newly recognized branch

tus,
documentary film
will
sta-
better
fare
than ever within the Academy and documentarians can
rest a little easier
know-
someone on the
inside,
ing that they have
a voice to represent their artform.
But
don't pack your documentary shorts off to

festivals in
hopes of qualifying quite
For one thing, the
list
qualify has yet to be compiled, but
importantly, the
move
is
more
not a sure thing.
"Nothing's ever definite until

final
yet.
of which festivals
we
get that
rubber stamp from the Board of
Governors," reminds Dong.

Scott Castle
is
assistant editor at
The Independent.
10
THE INDEPENDENT
March 2001
@s^)
PAL NTSC SECAM
Better than Fiction?

Oflf
The
ANALOG &
Press Debuts
Sales
&
DIGITAL
PRODUCTS
Rentals of New, Used
& Demo
While true-life stories are often a
make
good resource
TV shows,"
for script ideas, the actual
research time involved can be daunting
But now Off The Press,
for filmmakers.
new web-based media
research outfit,
appears to have streamlined the process
from
200
tions
including
major
stories
brought to
She
dailies
as
and
tive papers,
and web
life
such
by talented writers."
wide an audience
different categories
sci-
to
name
Her aim
a few.
attract filmmakers of
is
arti-
grounds, from low-budget inde-
that
pendents
for
Hollywood productions.
Michael Bortman, a screen-
There
writer for 20 years,
they believe will proinspiration
summaries
and the
Off The Press and
which could potenthe
replace
tially
porter:
cumbersome
really
magazine.
it
er
is
something the filmmak-
must pursue
The
Press
research service.
story that
the
effectively
Once you
organization can
he
takes
nience of the
on
that topic
methods, which vary depending on
and
fee,
delivery.
results of the search are confidential
not be posted on the
site's
archive. If your research requirements are
The
can also
Press
put you in touch with one of its freelance
tial
will carry
custom research
quoted
Chriss,
for
out confiden-
an individually
September by Carolyn
who has worked extensively in the
specialized
research,
long you wish to use the
last
field
of
movie
and
TV
Off The Press has already
amassed an impressive
15,000
site.
customers to explore the
site
without
having to make a big financial commit-
ment.
If
additional time
month's access costs

is
required, a
is
just $30,
and
a year
$300.
quick tour of the
press.org)
site
(www.offthe
allows you to look at sample
articles featured
on the
Don't be surprised
if
site for
no charge.
you see one that gets
you hooked.
Jim Colvill
stories.
"Through my research work, I have come

across hundreds of stories that would
how
Twenty-four
hours of access costs only $5, allowing
price.
Founded
212 688 5405
well as the
document download
who
212 688 5110
F:
site, as
flexible
researchers
T:
in,
payment
extensive, Off
[email protected]
also
which includes the database search time,
more
www.analogdigitalinc.com
conve-
the
This costs $99,
with a "Snap Search."
will
1-800-922-4PAL
publi-
cations for further articles
and
CALL TOLL FREE!
research
numerous databases and
The
& SECAM)
into
He
says.
stresses
see a
you are interested
(PAL
look for in a story,"
Off
separately),
is
and producers
ers
posts
it
High-Quality Duplication
from any source master.
account what writ-
does not carry
the rights to the stories
PAL and NTSC
Multimedia Projects
view behind the
| of
selection of articles
(that
"The point
task of having to trawl through
Although
Editing available in
is
magazine
after
& 35mm)
already a strong sup-
easy
site is relatively
to navigate,
AVID
discovered
recently
of each article posted,
financed
studio
to
(PAL DV to 35mm)
POST PRODUCTION SERVICES
site
to Film Transfer
CANON XL1P
Tape Transfer (8mm, 16mm
Film to
back-
all
on the
brief
Tape
to
posting
are
VX1000E/DSR-500WSP
GVD300E/GVD900E...
ence, technology, law, and crime
cles
scriptwriters.
SONYTRV-900E/PD100AP
as possible
sites
vide
Mini-DV/DVCam & DVC Pro PAL products
as
says the site tries to cater to
many
city
alterna-
and
has car-
by posting news stories from
publica-
magazines,
who
The
Insider and Erin Brockovich. "There is
nothing I enjoy more than to see those
cherry-picks
site
remarks Chriss,
ried out research for films
The
significantly.
web
excellent subjects for movies
]im Colvill
is
an
editorial intern at
The Independent.
March 2001
THE INDEPENDENT
11
Tape-to-Fila Transfer
You
shoot
>
CD
f
mm
/LAB
23815 industrial
park drive,
farmington hills,
mi
48335
voice 248.474.3900
f ax
248.474.1577
G^S)
is
Some
real future of entertainment.
option to license
some web
where pop-up
100 unique
ads, IPOs,
streaming channel for

Content-wise,
ater,
its
911 can
concerned with
site traffic
while exhibition has tradi-
end, WebFlicks provides
now add home computers
(affiliating
to
groups
to
tunities
darkened the-
than with with
documentarians
PBS
and even
Mitchell,
911's screen-

101
DAILIES
SYNCHING
DIGITIZE DIRECTLY
FROM DV
AVID CLASSES
kids.
MIX TO PICTURE
__
Edit in beautiful, spacious.

station), as
__
praps;||
venues. Peter
212.343.8020
welcome oppor-
like
artists,
To that
artists.
with the local
media
well as
of
list
from most com-
differs
it
dis-
a screen in a
ISLANDMEDIA
levels.
work.
artists'
creating a platform for
and
new
mercially-oriented ventures by being less
four major areas:
creation, education, exhibition,
And
video works that were down-
has since evolved into a web-
site
Sound Mixing
an award
WebFlicks.org began as a screening
The
ProTools
an audience."
in itself just to get
aters are currently taking to
and stock values
WebFlicks.org, the
is
artists in
meant
about
site gets
visitors a day.) "It's
projected-a process that commercial the-
in
based nonprofit 911 Media Arts. 911 sup-
tionally
web
back," he says. (The
streaming media portal for the Seattle-
tribution.
been
noncom-
work
artists'
such place
media
site. "I've
commercial-free havens
stay refreshingly out of the equation.
ports
shown
good feed-
getting
loaded from the web and subsequently
ing independent
petitive environs
on the
series for
pledged to show-
sites
this isn't
the only benefit of having his films
which failed
despite its Hollywood pedigree, and the
pioneering Atom Films, which closed its
Seattle offices and cut staff to realign with
the San Francisco -based Shockwave. Yet
Avid Editing
to other companies.
it
Dave Hannigan adds
Director
recent
the
on WebFlicks.org retain
their work, giving them the
the rights to
casualties include Pop.com,
there are
of
aspect
that artists
site is
the future"
Slogans
consumer
touting
"mass
releases
press
and
audiences" have come to sound more like
the empty promises of politicians than the
"broadband
like
One
911 for Streaming Media
Dial
curator,
ihgs
webmaster
and WebFlicks designer
ultimate goal
in viewing
is
says,
to increase participation
and creating new media,
as
well as showing people that there are a lot
of
messages out there."
[alternative]
Mitchell contends that movie audiences

are often subjected
the same three
to
be great
if
you were
rich,
and
whose
under
office
fare
friends.
topics that
who
who
auspices
But now
lives in
site like
easy of course, but
turned
media can come to
Speakeasy.net and
headlines
this place
and find out
David Donar's mushFergie's
Fungi,
animation
the
WebFlicks.org. Donar,
who
which
section
at
has had his
work shown on MTV and at the popular

Spike and Mike animation festival, is
savvy to the
licensing
ins
on the
and outs of content
Internet, but
present his work on 91
was eager
l's site. "It's a
to
great
place to get not only exposure, but also a
good way
for
me
[911]
it."
WebFlicks.org
isn't
a challenge that
it's
across the country are capable of taking
911
to give back,"
he
says.
International Insurance Brokers Inc.
my grandmother
are interested in
what's being created here," says Mitchell.

is
on the
it
my
Mitchell says other media access centers
on.
One example
of
all
Las Vegas can look at
non-commercial, non-traditional forms of
room masterpiece
have
where even
Creating a
Young
l's
featured on the
is
can't get the tape out to
site
Matas,
was created
91
of
tape,"
Michael
members'
by streaming 911
short films. "People
the
site. "I
support the military industrial complex."
on
film
film Lost Keys (which
Producers' Program)
web
WebFlicks.org offers an alternative to box
my
14-year-old
explains
it
standard plots: "falling in love, wouldn't
only have
"I
"WebFlicks'
Liability
Insurance
*
companies
to
Discounted
like
PlayStream.com
for
AIVF Members
WebFlicks.org's hosting solutions, while
911 volunteers built the server out
of
donated computers. Tech industry professionals
91
l's
were invited to teach
Suite
could eventually run the
own, having learned
skills in
site
New York
it
encoding
Tel:
800-257-0883
212-406-4499
crucial that 91
is
Fax:212-406-7588
only a byte's
distance from companies like Microsoft
and Real Networks?
City.NY
10007-2966
on
and video compression.
Was
500
20 Vesey Street
at
educational wing, thus creating a
staff that
its
classes
"It
helped,"
Mitchell, "because there are so
many
http://www.csins.cor
says
peo-
March 2001
THE INDEPENDENT
13
pie speaking the language of technology."

Still,
We
are a
picture
finished
specializing in
and audio post for

on
services;
and
facility
film.
sound
We
offer
design, foley,
fps on high
systems and
end
full
projects
full
digital
24
audio
ADR
or
30
non linear
contact us for
more
information.
like
Mitchell
convinced that a
is
WebFlicks.org
is
site
not unique to Seattle
and can and should be done at other

media organizations around the country.
"There's a reason
why people
join togeth-
community centers. Let's link

them up!" he says. The dedicated community model helped create WebFlicks.
er at these
org,
and
it
will also insure its
The
media centers com-
potential of numerous
make
ing on-line will
growth.
it
easier to share
resources,
preview works, and organize
screenings.
"How many
are
now on
board members that WebFlicks.org has

experienced,
rative content
itself,
is
the collabo-
not ad revenue.
centers
to get busy!
is
website,
get
it
Get
busy,
make
centers willing to donate their time,
Shannon Gee
Shannon Gee, a
freelance writer, film
documentary producer based
ing
ZDF/Arte's upcom-
of
theme nights was accidentally omit-
ted from "Arte's Mark," by Claus Mueller
[December 2000
article
see www.aivf.org], an
looked
that
at
the
upscale
German-French television channel Arte.

Each theme night is listed with its commissioning editor. Since these are in various stages of development,
ZDF
urges
that interested filmmakers should ascertain
from the commissioning editor what
the status of each theme night
is
The Independent
ular update of
ZDF and
premiered on
PBS
conflict
it
communal
living.
Street
Life
(Kathrin
Brinkmann:
[email protected]) The street as
theater and arena for conflicts generating
unique experiences and encounters.

Fast
Food (Bubeck-Paaz and Mertens)
Consequences of that vast industry
for
our world and environment, and the stories
we
that emerge from the fast food places

frequent; an international journey.
Megalomania (Hepp) Think Big

mania? In our daily experiences,
as the
politics,
medicine, architecture.
other public broadcasters.
Mirror on the Wall (Brink-
Mirror,
mann) The mirror
as
an instrument of
self-recognition leads to a thematic jour-
ney into
reflections, delusions, fantasies.
The Typewriter
(Bubeck-Paaz) Role of
economic, and historical perspectives.
the invention of typewriters for women's
The Dream House
Hepp and
[email protected]
& [email protected]) Our dream-house
entry into the labor force and the coming
Utopias in the First and Third World.
The Legacy
Betrayal (Hepp and Susanne Mertens:
mann)
Mertens.S@ ZDF.de) Analysis of the
form the body and dissolve boundaries
current personal and political meanings
between
of "treason" and "traitors" and the con-
virtual reality, obliterating the notion of
sequences that follow.
identity.
(Doris
Sabine Bubeck-Paaz:
Family Models at the Turn of the
and
of current family types and
Millennium (Mertens) Search

identification
what the future

Cleaning
for
will bring.
An Evening around
(Mertens) On the need and
Cleaner, Cleaner!
March 2001
and the
cleanliness
generates in marriages and
will publish a reg-
planned theme nights by
and Shepherds (Anke

Lindenkamp: [email protected])
Sheep, flocks, and shepherds and how
we relate to them from mythological,
THE INDEPENDENT
last fall.
topic for our time: greatness or megalo-
Of Sheep
14
and
before
submitting proposals or tapes. In future

issues,
critic,
in Seattle, co-pro-
duced Conscience and the Constitution, which
obsession with
list
skills
and support. Take advantage of that

model. There are a million dot-coms that
would die to have that."
ZDF/ARTE THEME NIGHTS

following
that
Mitchell. "There are people in these arts
support from volunteers to filmmakers to
The
"I
up there!" encourages
of these dot-coms
dot-com had the consistent
At
viability.
guess the message to readers in other arts
the skids because the people
if
tremendous
WebFlicks.org, the revenue
involved lost the vision?" asks Mitchell.

Indeed,
would be
it
boost to both vitality and
of the information economy, emancipating
and backgrounding women.

of Frankenstein
(Brink-
Biomedical technologies trans-
man and
Summer
Lust
&
machine,
reality
and
Cravings for the Sea
(Brinkmann) Our craving
for
summer
and the air of the sea, for

amusement parks and spas, for the place
freshness
where the
earth, water,
and
air
merge.
Claus Mueller
(^^^)
A
Day's Work,
Jonathan Skumik
Kathy Leichter
&
same
how
Leichter and
caught
somewhat by
Skurnik
however, was just
surprise,
loud and eloquent the voices of those
employee
people could potentially be. People
like
counterparts doing the exact same work
Juan Galan, who helped create the
first
receive).
To make people more aware of

them directly involved,
Skurnik and Leichter are enlisting an
army of workfare workers to hit the
WEP
the issues and get
pants losing their welfare benefits com-
rights
Richard Baimbridge
and
What
echoing
title
ing an "illegal" union to fight for the
A DAY'S WORK, A DAY'S PAY

by
Day's Pay (a
the rally cry of workfare workers organiz-
salary as their City
union under the threat of
Galan has gone on
pletely.
partici-
to establish a
career as a powerful organizer of Latinos
and hotel
in the restaurant
The
industry.
Jonathan Skurnik and
story of his personal evolution,
Kathy Leichter have taken
stories
the term "media activism"
documentary, serve
to a level rarely before wit-
pleasant backdrop to the political issues.
The
nessed.
directing part-
documentary,
ners' first
Day's Work,
Day's Pay,
is
made
the film
more complex
we looked
"After
at
to overturn laws that
choosing to interview,
New
recipients,
fare
centers, hold discussions,
of the system,
diate actions.
ed to portray our characters
and empowering
would be holding
seen just the footage from our
much
spark so
discussion," says
Leichter, sitting in the editing
Mint Leaf Productions,
room of
as interviews
from
in
community
and take immeOne example Skurnik cites

immediately
a protest
after a screening at a college
where
WEP
workers are being forced to clean, instead
The outrage
of receiving educations.
would be
he
fueled,
says,
edge that 18,000 people have been forced
"Early on we showed some footage to the

community groups we were working with,
to drop out of college in order to
and immediately they responded with

emotions
intense
these
anger,
and
ideas."
The
faces
all
frustration,
on the screen
are those of welfare recipients forced by
New
the City of
York to work
program called "workfare"
benefits in a
(or
"WEP"),
in
conjunction with the
initiated by
Welfare Reform Act.
make people
for their
Mayor
The
Giuliani
1996 federal
theory
to
is
personally liable for "paying
Skurnik and Leichter
project has
not sound
reality
On
wage.
is
the surface that might
such a bad idea. But the
like
that far from helping people
break out of poverty
program
at least
(as Roosevelt's
made an
effort to
ing the Great Depression), workfare
ving
many
and despair
have skills
of
them deeper
WPA
do duris
dri-
into poverty
confining people who often

to mindless, unskilled labor,
while depriving
them of
basic rights
and
benefits, including the right to unionize.
That much
is
clear
once you've seen
But from the
start,
in
down
who
anecdotes in
critical,
what
workfare,
to
statistics,
or small
TV segments. To make
to get to
them
know them
so the audience says, 'Oh, this
a single
through.'
Or
mother on welfare has
to
is
is
go
'This guy got out of workfare
and became an
Former
organizer, but he's dealing
with some stuff that
is
really
hard
activist
these people are."
classmates,
and
Leichter
political
backgrounds. They were re-intro-
and decided
tion projects
to collaborate
Each came up with a list of

possible ideas, most of which pertained to
on
a project.
offer
as
"Workfare was a
seemed
to
common
have the most to
social-issue
because so
documentary,
much was happening
at the
on
time," Skurnik says. Yet while working

this film, Leichter
and Skurnik have
also
had the pleasure of standing back and

ting
their subjects
what "activism"
let-
educate them as to
truly entails.
As Juan Galan
says in bitter frustration
during one particularly powerful scene:
"To
really face
something
in the eye
is
one
of the scariest things you will ever do. You

find
out
lot
about your
detects,
and
take
quick glimpse,
a lot ot
fears,
your
times you can only
then
because you're scared of it. You
for him.'
way we're gonna touch

people. [Viewers] may respond to the
issues, but they'll respond more to who
That's the only
about the workfare issues?"
Skurnik both come from strong
"Welfare recipients have
and
about the characters and
is
is
interest that
are in the workfare
always been numbers,
real people
how much
social issues.
their side of the story,"
tell
Leichter says.
of the film
the
them or
reducing them to facts and figures. "One
of the main reasons we made the film was
rather than speaking
decid-
as agents of
own fate," Skurnik says. "Our chalnow in the edit room is how much
PBS
been about learning from, and
involving people
directly
program to
imum
documentary
foundations, and will be offered to
working menial jobs
30
pursue
was funded by ITVS and several small
to allow people
for approximately
will also
television distribution (the
stations this year).
their
lenge
we very consciously
duced while working on separate produc-
their workfare obligations.
back" the welfare benefits they receive by

hours per week, at the equivalent of min-
fulfill
almost
always portrayed as victims of poverty or
by the knowl-
the film play silently in the background.
were
media]
who were
streets, set
the powerless.
trailer
[the
while challenging deep
prejudices about welfare,
"I've
kind of people
York's wel-
up screenings
Skurnik
media coverage and
the
oppressing
for
to handle.
foot soldiers. Their mission:

are
Day's
Day's Pay. Yet that fact has also
and Leichter
subjects as
its
In a sense, they are the crux of
Work,
similar
men and women in the

as much more than a
from other
a bold, grassroots campaign

that employs
and
turn
away
rc.ilK are."
Mint Leaf Productions can he contacted
at:
(212) 952-0121. For further info.:
www.pbs.org rromswastikatojimcrow
Richard Baimbridge served as managing
editor for this issue of
March 2001
The Independent.
THE INDEPENDENT
15
I
the routes and rewards of this cross-cul-
Steven Fischkr
&
Sucker
Joel
then follows the
tural experience,
fate
of these scholars as the Black Power
movement changed
the tone of these
colleges during the sixties.
FROM SWASTIKA TO
AMERICAN MONTAGE INC
CROW
Under
Pacific Street Films,
and Fischler worked
The history of race relations

America
seem
Digital
Film, Video
/Analog
& Web Production
AVID AND FINAL CUT PRO SUITES
POST-PRODUCTION SPECIALISTS
AFTER EFFECTS-/ MOTION GRAPHICS
IN
FEATURE LENGTH
DOCUMENTARIES AND NARRATIVES

670 BROADWAY SUITE 300, NY, NY 10012
3 3
4-8283
www.americanmontage.com
in
when
tensions
or hatred can flare up. During the

1990s, while President Clinton was
throwing his weight behind a presidential commission on race, African

American and Jewish relations
became particularly strained over
the anti-Semitic rhetoric of extreme
The inflammatory
speeches of Nation of Islam leader
Mohammed
Khalil
for
instance,
named John
at
Howard
University,
years
many.
One man
director Laurie Cheatle
upset
Herz, a professor at
Howard
during the 1940s, decided to write a

ter to the
New
York Times about his feel-
Fischler of Westchester,
New
York, vivid-
remember reading that letter. "It said, T

remember when Black colleges extended
a hand to refugee Jewish scholars,'
Sucher recalls. "And the writer went on
ly
to cite his
Howard
own
experience teaching at
University in the 1940s, being a
The
refugee from Germany.
out to
live in Scarsdale,
minutes away from our
writer turned
only about five
office.
ing paragraph, he cited a book, From

to Jim Crow, written by Gabriel
Edgcomb, chronicling some of the stories
Media Composer 10.0

Full-time Support
of these refugee scholars.
Herz with some

of the book."
Fischler's
difficulty
And
We
contacted
and got copies
thus began Sucher and
eponymously named documen-
which aired on PBS in February.

Using archival footage and talking
tary,
heads, the hour-long film looks at a
known
history.
RADICAL AVID
1133
BROADWAY
(212)633-7497
THE INDEPENDENT
March 2001
As filmmaking
little
chapter in both Jewish and Black
Escaping
Nazism,
dozens
of
Jewish scholars fled to the U.S., but,

despite impeccable academic credentials,
most were rebuffed by white
universities.
partners,
Jim
Crow
fit
Sucher and
From Swastika
to
resume of
perfectly into their
social justice films like
The Imprisonment
of Martin Sostre (1974)
and Anarchism
America (1981). In
in
spite of their experi-
the duo has won

Guggenheim Fellowships, Emmy Awards,
Cine Golden Eagles, and the John
Grierson Award for Social Documentaries
making From Swastika to Jim Crow
ence and success
was not
easy.
In
ation
for
'Oh
said,
cle,' "
Public
it
took almost
six years.
officer at the
Corpor-
fact,
"One program
Broadcasting basically
sounds
Sucher
it
like a
recalls.
good print
tend to be conservative, especially

it
comes
to film.
Litutia Littauer
grand to
Then
We
arti-
"Jewish foundations
when
were lucky that the
Foundation gave us a few
commence production
in 1996.
the National Foundation for Jewish
Culture came through with another

tively large grant." Later,
"we were able
rela-
he continues,
to get the finishing funds
from ITVS, but [the whole fundraising

process] wasn't easy."
Far easier was getting the students and

professors to reminisce.
A recurring emo-
Many
eventually found
tion seen throughout the film
rising
Black colleges.
The
new homes at the

The film looks at
in
and editor Marty
been making socially-con-
Fischler have
In the clos-
Swastika
24 Hour Edit Suites

3D Meridian AVIDS
own. Then they brought
their
scious films since 1969.
Filmmakers Joel Sucher and Steven
AVID
on
Taub.
let-
ings.
RADICAL
few
to be cooling, a burst of anger
black leaders.
EXPERIENCED
Sucher
for the first
with bizarre and
filled
is
painful twists. Just
16
the auspices of their production
company,
Aaron Krach
by
*k*
JIM
is
gratitude.
professors express gratitude to the
Black colleges for hiring them after their
They
expulsions from Germany.
grateful to the students for adopting

as
The
teachers.
their
SON VIDA PICTURES
are also
students
41
them
UNION SQUARE WEST

NEW YORK CITY
inter-
viewed are equally moved to remember

their favorite professors.
"Everyone was extremely open and

excited
have
to
documented,"
this
particular
history
"from the sur-
says Fischler,
viving refugee scholars and their family
members
chance
to the students
to
document
tant history.
lot
who saw
it
as a
212 242-9585
and impor-
a unique
of the scholars didn't
they were part of a movement,
realize
because so
much
of this happened
on an
So not until you

stand back and get some perspective do
you recognize this is more important than
individual, ad-hoc basis.
just individual stories."
To Fischler and Sucher, documentary

filmmaking
is
bigger than individual sto-
"Our point of view, ever since

we started making social issue films," says
Sucher, "is that documentary films should
be used to provoke or trigger thinking and
ries as well.
discussion of relevant issues
LEARN FILM
roTTTXWTKT
i
IN 2-DAYS,
this end, the
taking their film
FROM PAGE TO SCREEN, TAUGHT BY A WORKING

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filmmakers have been
on the
road, in concert
to
it
LEARN VISUALIZATION...ENHANCE THE SALES SUCCESS

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REFLECTIVE OF YOUR VISUAL STORY INTENTIONS.
mixed audiences and holding discus-
"We
have these
like to
screenings co-sponsored by different orga-
one
in Baltimore that
sored by the Jewish
Museum
COMING TO FILM CENTERS
we
nization," says Sucher. "For example,

just did
was spon-
BOSTON
CHICAGO
LOS ANGELES
March 3 & 4 March 10 & 11 March 17 & 18
SAN FRANCISCO AUSTIN VANCOUVER
March 31 & April 1 April 7 & 8 April 21 & 22
in Baltimore
and the Maryland NAACR There's a

study guide that's been written and distributed by the Anti-Defamation League
for use in these screening discussions.
number are being coordinated with

PBS broadcast."
It is
ic

(SEE ''GRADUATE & PRESS REVIEWS" ON WEBSITE)
the
exactly this kind of extra- cinemat-
experience that has kept Sucher and
Fischler motivated over the last
"We have
a social/political
to certain
themes and ideas
to put into practice
30
"Learned a great deal about telling an effectd7e, visual

story.. .take this seminar before your next film!"
years.
commitment
which we get
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For more information on From Swastika
"Action/Cut is particularly successful in demystifying

the tasks of a director and empowering participants!"
ing]," says Fischler.
"Where
else
get that opportunity?"
to
]im Crow, contact: Pacific Street Films,
579 Broadway, Hastings-on-Hudson,

1
CINEWOMEN
NY
0706; www.pacificstreetfilms.com
Aaron Krach
writes regularly about film. His last
article for
The Independent was
about the
docuvientary Keep the River
on Your Right
in
CRUCIAL FOR WRITERS
with ITVS' outreach program, screening
sions afterwards.
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in this case,
racism and Black-Jewish relations."
To
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-
December 2000.
March 2001
THE INDEPENDENT
17
~r^
(E
Gena (1997) and the widely
Arresting
exhibited short The Salesman and Other
ANCHOR/
Hannah Weyer
MWSDESK
Adventures (1994). For her next pro-
by Jerry
White
SATELLITE
HAD ALL THESE MISCONCEPTIONS ABOUT

migrant life," mediamaker Hannah Weyer
VIDEOS
LOCATION
CREWS
Satellite
admits,
"and she continues to dash
those."
Weyer
EDITSl
NTV.
a division of
NTV
International
Corporation
contact:
ElyseRabinowitz 212-489-8390
NTV STUDIO PRODUCTIONS

50 ROCKEFELLER PLAZA
NYC 10020
real subject Elizabeth's

life
for herself, to
part
distance
above
XL 1000
Composer
1:1 Uncompressed / AVR 77
/Titles
/Graphics
Experienced Editors
PROTOOLS 24 MIX PLUS

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Audio Syncing w/
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18
THE INDEPENDENT
March 2001
The
lifestyle is
together
family
Weyer
as its
to be
often defined by
is,
seen
to youth.
month
The
video
will
doing
how
is
say,
become
part of curricu-
over the country, especially in places
Minnesota or Georgia, are

starting
point,
says.
and
totally
in,
not
"La Boda could

especially
La
Escuela later on."
three
main threads is the public school system

and how it deals with migrant students
and bi-lingual education."
Ironically, when Weyer first started this
enterprise, she had no intention of making a documentary. Her experience had
been with dramatic fiction the feature
La Boda in
at work
hard
that have less experience with migrant
down
"because one of the
to use
also
this
she'll
workers. "A lot of these school districts
feeding directly into the director's next
project, a documentary tentatively called

La Escuela ("the school"). The sequel will
have Elizabeth's younger sister Lilliana at
its center. "The story is much broader in
where
in Orlando, Florida,
help the film
la all
which played widely on the festival

is
now heading into schools
through various outreach programs, and
tary,
circuit,
now
slated to play at the
is
be a
says,
is
preparing a study guide, which she hopes
'
This intimate and engaging documen-
Weyer
tie
film's
National Migrant Conference later
equipped yet," Weyer
is
the
quite a bit of outreach
community,
chronicle,
all
characters and themes.
and separation. La Boda
all,
the
device that could
unique
shown
was
timately
the eve of her wedding.
scope,"
SOUND STUDIO
is
more
took
through the eyes of an oldest daughter on
Film
3D
family
of a very supportive
although their
Media Composer 8000
The
the
daughter's wedding ul-
fully into adult-
possibilities that are
"The
over," says Weyer.
the classroom. She
life.
hold.
spent time with
[Elizabeth's] story
run a workshop on
and
them,
her very tightly-knit family and by the
to migrant
AVID
more
hood. These attempts are complicated by
struggles
take
to
of the
and the idea of
documentary began
attempt to create
come
As
to visit the Luis
family,
Luis family,
VIDEO/AUDIO POST
Weyer continued
dle,
years doculife
invit-
prospects for the feature began to dwin-
woman
American citizens who

live between Texas, California, and
Mexico as migrant laborers. The
end result was a feature-length
documentary about the wedding
(La Boda) of this young woman to
Artemio Guerrero, also a migrant
worker but a Mexican citizen. Shot
on video, it focuses on preparations
for the wedding ceremony, but has
kept going back
to Texas," she recalls.
center of her video La Boda.
Weyer spent about two

menting the everyday
is
come
to
about
talking
Elizabeth Luis, the young

at the
services
is
me
ing
just
them, and they ended up
to visit
"I
production
fiction
larger screenplay,
MEDIA TOURS
CORPORATE
planned to make
one that
and documentary. While
scouting for that project, she met the
Luis family. "As I was still working on a
mixed
VIDEO-
CONFERENCING
originally
a feature about the border,
LA BODA & LA ESCUELA
VIDEO
Weyer
ject,
SETS
To help
facilitate
the documentaries'
classroom use, Weyer plans to break them

into shorter units. "I'd like to
or
tour versions of a
make
10-minute
video tool, each one assisting a different

group," she says. For example, one might
be for a teacher's college whose alumni

are likely to
work
in regions
with a high
percentage of migrant families. "That tool
would
specifically address the things that
migrant students need, but they'd be told
from the point of view of the student," the

director explains.
That tape might include
footage from La Boda or La Escuela of a
student talking about his or her everyday

life.
"Another version would be a 10- to
15-minute tape that could be used in

junior high school classes to help sensitize
who wonder, 'Who
the communities
What do
these kids?
Study guides
all in
"
they want?'
Human
Watch Film
which
Festival,
The
first
Produce
one productions
isjiaw_arj |jr^T\#
HU
La Boda are being pre-
for
pared in collaboration with the

Rights
are
HD house
dedicated
to
HDTV based
facility
feature films
commercials
also
corporate Video
helped bring the video to two Brooklyn
"One
high schools, El Puente and Global.
of the schools wantedto focus on global-
High Definition Video Production Services

documentaries
ization,"
Weyer
who
recalls,
at that point
making the
HD 24P Camera Package

HD Uncompressed Non-Linear
HD 2D/3D Motion Graphics
Shoot
Editing
film
HD-SD Up & Down Conversions

Same good services in NTSC & PAL
24fps
might not directly coincide with that of
Creative Talent
Prograssive
agenda
realized her
teachers
in
who show
question becomes,
the film.
'How do you
about a very personal story

tify
"Then
the
High Definition Video
use a film
SonyflEEEI
and not objec-
these very real people"
when
a true alternative
dealing
to film
with them on a political level?
That question was

the
Human
last
June.
also
on her mind
at
Finish
Watch Film
Rights
Protect your investment
Post
on 24P - Universal Mastering Format
Festival
Uncompressed
At one screening when

and Artemio were present, the
Elizabeth
online /offline
audience asked clearly political questions.
was hard on
"It
her,"
Weyer
non-linear editing
recalls,
motion graphics
"because
person"
&
don't think she's a political
a fact that's evident in the film.
Producing
in
HD
is
more affordable than you
think
compositing
Nonetheless, "the audience wanted her to
be politicized; they wanted to politicize
This
her."
La Boda
didn't conceive of
film. "That's
Indeed,
not
how
as
an
desire to directly effect political change,
Weyer made the
that
clear
it's
because she thinks Elizabeth's
worthwhile
and
revealing
film
life
is
For
story.
Weyer, the events leading up to the marriage
were
of conflicted feelings about
full
familial loyalty
and independence, of the
giddy anticipation of starting a
living
between cultures and places

as it demands. Commun-
life
offers as
with
life
someone, and of the realization that

your
contribution
to
iVID
HD
Rll In
One Location
MC Of] ine/Online
PC or Mef! *ien Systems
Excellent tecfi Support
DV, Beta, 1/2", lA \ DAT
UNCOMPRESSE
or
AVR 77
Onlines
212-614.7304
was
itself a significant
polit-
she concludes.
La Boda
is
distributed by
Women Make
}
Sound mi [ng and editing
Voiceover
Huge
Pro Tools Mix
information on this and La Escuela, con-
St.
IN
5UITE5 AND FULL SERVICE SOUND 5TUDI0
Movies [[email protected]] For further

tact:
PIONEER
understanding migrant
"There are different ways to be
ical,"
SD
much
icating those issues
life.
IN
activist
like to tell stories."
than starting from
rather
EXCELLENCE
who
inorganic to Weyer,
felt
877-479-HDTVI4388) www.allinone-usa.com
Los Angeles New York San Francisco Hong Kong
Border Pictures,
#3F,
New
York,
Inc.,
241 Eldridge
PRODUCTIONS
10002; (212) 642-
Jerry
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is
a Killiam doctoral fellow
Comparative Literature
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library of
ound
effects
Pliil
2 inch 24 track/DA8
at the
University of Alberta.
536 Broadway
at
Bleecker Street
March
THE INDEPENDENT
19
Judy Garland (Mark Bowes' Get Happy or
niscent of Plato's cave, spectators intermittently cast their
Air Raids
floor-to-ceiling
L.A. Freewaves'
Celebration of Experimental
Media Arts
Moran
by Jim
Since 1989, L.A. Freewaves has been
dominated by
raiding institutions
and commercial entertainment
tional art
an
in
tradi-
effort to find alternative spaces for
the public display of experimental media
Southern California. Once again
in
this
behind.
Shawn
Chapelle's Far Reaches, in which
val,
held
last fall
its
seventh
festi-
Lupe
Velez
Assumption
the works projected were
(Rita
Lupe
of
and
Joe
Of
Is
science and the occult merge in a cabala
Just a Thing Called Joe)
of colliding images traversing the outer
was Pratibha Parmar's documentary Jodie:
and internal recesses of time, space,

religion, technology, and anatomy. James
Elaine and William Basinski's Fountain
made literal the metaphor of electronic
An
flow by magnifying images of water to
of desire capable of transforming appar-
refract
an undulating prism of rainbow
ently heterosexual narratives into latent
colors.
And
homoerotic encounters.
limits
exercise
in
Warp,
Steina's
special note
which thoroughly examined the
process by which lesbian spectators have

psychologically constructed Jodie Foster's
onscreen persona into a cinematic object
delirious
manipulation,
digital
Icon,
Moving from
trans-
physical neighborhoods to
formed the pedestrian movements of the
the virtual communities of the Internet,
human body into an exotic,

dance of uncommon grace.
held at the
"Street
hyperbolic
an
Reprising the popular video bus tours of
1998,
UCLA EDA space,
Net Art
presented
demonstra-
intellectually provocative
tion of
screening-rooms- on-
year's
this
Action on the Superhighway,"
that was simultaneously
streamed
Milla Moilanen's
late 19th
animated
film
Wanted, which screened
in
the "Altered" program, utilizes
the web.
century archival materials.
on
The
panelists
Anne Bray
demonstrated
JoAnn Hanley mana number of unusual
various tactics
dwindle, executive director

festival director
aged to ferret out
The
Gonzalez's
Velez),
Dellasandro (Steve Kokker's Happiness
throughout the month of
November. Miraculously, as venues for

socially and formally challenging work
and
Night Judy Garland Started a Riot),
the
against
projected from
Among
indomitable organization has bucked the
system with Air Raids,
own shadows
visions
and imaginative spaces
for trespassing
for their city-wide
into politically
event, testifying to their determination
charged
and
spheres of cul-
creativity.
Some
of the quirkier
"MacadamFest," a
the
hosted
drive-in
tural
and video
film
Rose Bowl
the
at
which
included
affairs
by
in
practice
traversing
virtual
spaces
schedules
with uninvited
sporting events. Equally unconventional,
interventions.
Pasadena,
the
Music
karaoke
was held
finale
festival's
Vermont
typically
club
Cafe,
in
patrons could view
the
at
own
new work by
beamed
festival,
And
Tony Cokes
30- second video segments from
electronic
billboards
in
Hollywood,
appropriating the language of advertising

to critique the interactions of desire
commerce
and
in capitalist culture.
the hallmark of Freewaves festivals.

ask,
"Why
They
confine digital art solely
to the diminutive monitor?" then

it
answer
spectacularly by something like "Images
We Want
the
See Big," an installation
to
MOCA
Geffen
at
Contemporary.
on the walls of the

show burst the confines of
Projecting works
museum,
this
typical video
venues by appropriating the
larger-than-life
Moving through
20
stimulus
of
cinema.
a cavernous space remi-
THE INDEPENDENT
wheels once again navigated land-
marks generally bypassed on commercial
March 2001
of
tours
California,
of the quirkier affairs
included the "MacadamFest," a

film
and video drive-in hosted at
Southern
from hidden labor in
Los Angeles to forgotten histories
Echo Park. Spaces literally

"came out" during the Queer Star
the Rose Bowl
in
Pasadena, and
the festival's finale, held at the
in
Maps
Defying expectations has always been
might
Some
Nam
private viewing rooms.
throughout the
the
where
Koreatown,
June Paik from comfortable couches in

their
Among
traditional
tour.
Outfest
Acting
as
programmer
Vermont Music Cafe, a
guide
Karaoke club
in
traditional
Koreatown.
Desiree
Buford pointed out important

sites
in
L.A.'s
queer
history,
including hot nightclubs, headquarters of
engaging "hacktivists"
gay and lesbian cooperatives, and the Will
electronic
Rogers park in Beverly

ous tourists got off
Hills,
where
curi-
the bus to photograph
the men's room where George Michael
was arrested
for
illicit
exposures of his
own. During the excursion, a program of

six shorts celebrated queer icons such as
Sollfrank of the
cussed her
Hamburg
who
specialize in
disobedience,
civil
1997 project to
fine
Cornelia
Old Boys Network
art
museum's
dis-
infiltrate
first
spon-
sored Internet art competition with 300

falsified
artists.
submissions by fictional female
Mervin Jarman, creator of the
Container Project, related
his
to
efforts
provide diverse Jamaican communities
with free access to computer equipment.
And
Ricardo Dominguez of the Electronic
demonstrated
Theater
Disturbance
FloodNet software developed
to
deny users
web
access to politically targeted
lucky enough to be screened at Side Street,
new downtown
a relatively
with
85 years
organization
is
distributor,
sites.
14 video programs were
This year's
Ifyour new work
is
and other
institutions
worldwide.
call.
boasting state-of-the-art projection and
audio
facilities.
Curated according to com-
mon themes rather

each
than genres or formats,
program's
510-643-2788
[email protected]
works
individual
approached the topic from multiple perspectives, offering a
and
heady blend of
fiction, narrative
and
and abstraction, humor and

and labor
Chicano
visions
culture
and pornography,
sobriety.
issues to
this
smorgasbord offered something
one while managing

predictable.
special
fluid,
based on
tion
From
youth
eclectic
for every-
to avoid the blandly
Judge Us By the
Collections
We Keep
Two outstanding works worth
mention
Wanted, a
fact
collage, figure
are
Milla
Moilanen's
polished piece of anima-
late
century archival
19
materials designed to establish ethnic pro-
rooted in biology. Set to a haunting
files
score, the video reverses notions of racial
superiority by illustrating the beauty
human
The
diversity.
The
of
other, Chris Wilcha's
Target Shoots First,
video diary of
is
epic proportions. Bringing his camcorder
work every day
to
at
his
job with
first
Columbia House, the former punk rocker

manages to expose the human foibles,
and plays
bureaucratic absurdities,
power that
America
typify corporate
for
all
with sharp insight and slacker irony.

Interrogating the mainstream
all,
a primary goal of Freewaves.
called independent film
after
is,
As
the so-
and video scene
in
Los Angeles blurs into boutique divisions

of Hollywood studios, Air Raids remained
independence
true to the original spirit of
defined by the pioneers of
New American
Cinema: independent not merely financially,
but aesthetically,
politically,
and
ide-
ologically as well. Fearlessly taking risks,
the artists showcased throughout the
festi-
new ways of seeing, while

Bray and Hanley invite new ways of being
seen. The result is truly visionary.
val
celebrate
Jim Moran
Los Angeles.
is
INDUSTKIAI,
SHOTS
HOT
<"<><>
ts
a writer, teacher, and consultant in
He
has published in Film Quarterly,
is
currently writing a book
on amateur video
for the University of Minnesota Press.
<
<
<
A Sekani Company
Wide Angle, Filmmaker, and RES magazines

and
(iOVKKNMKNT
Ph: 212.799.9100
Fx:
212.799.9258
www.liotshotscoolcuts.com
&
clips^filmclip.com
March 2001
THE INDEPENDENT
21
gram of
HIGH LIGHTS
Telluride
Cinema
Exposition
multi-leg travel
12 -hour,
nightmare,
arrived at the
Telluride
first
Cinema
on
Experimental
International
Exposition
held
(TIE),
landscape
human body
films, as
which synthe-
types to a musical tone.
was particularly impressed by the pro-
35mm films because
gram of experimental
M.M Serra
BY
After a
sizes
Experimental
his masterful
well as his Vervielfaltigung,
of
aesthetic
its
and range of
diversity
was Nicole
vision. Especially outstanding
Koschmann's
Fishing for Brad,
describes
"a
human
as
which she
provocative look into
sexuality
juxtaposes two
[that]
seemingly unrelated images
[an erotic
Halloween weekend. Exquisitely

beautiful, Telluride
career award:
Barbara Kopple
May
Christopher
industry award:
selected
Soros Documentary Fund
Durham,
that he
because
it
is
tra-
May, who has attended the
better-known
3-6, 2001
me
told
Telluride
"hard to forget" and "hard to

verse."
May
nestled in the
is
Uncomphagre Mountains, and the

autumn leaves enhanced the magical
setting.
TIE
founder
Film
Telluride
Festival for the last several years,
noted that Telluride's seclusion ensures
North Carolina
The eternally picturesque town
the dedication and passion of the festival
May wanted
participants.
www.ddff.org
919
660 3699
create an
to
experimental festival not focused on
money, and marketing," but driven
"stars',
by passion for the "creative process" and

the "personal vision of film
artists."
sented a program that reflected
pre-
my own
passion, a historical overview of sexually

explicit films by
women
Carolee Schneemann,
Barbara Rubin,
Abigail Child, Peggy
May works
(Madonna's
for
Ahwesh, and myself.

Maverick Records
label) as a regional represen-
tative in Colorado, but
and used
including
artists,
strips of his
the festival passes.
He
is
also a
own
filmmaker
films to
make
selected the festival
films himself after posting a call for entries
on the
Internet.
were accepted
COMING SOON!
or otherwise.
Through the
ed a program of
.
by
film
videos, digital works,
May
Internet,
found Courtney Hoskins, who curat-
also
>cs-in-progress com
Only submissions on
no
classic
avant-garde films
Maya Deren, Kenneth Anger, and Stan

as a fundraiser, but May provid-
Brakhage
ed the majority of the funding out of his
For streamed documentary

works -in-prOgress from
around the. world, a
weJozme, and
.onal resources
own
pocket, ending up thousands of dol-
lars in
One
debt to realize his dream.
for
children
organized
by
Hoskins. Children from eight to
lnroisapcs-in-progress con
.
1 1
years
old created films by scratching and painting
on the
film surface. Their films
then projected
at
the
main
were
festival.
Colorado native Jim Otis presented a pro-
22
THE INDEPENDENT
March 2001
dancer and
in
of Telluride, nestled
the Rocky Mountains of Colorado.
man
one
fishing], [forcing]
to question the nature of desire." In
all,
the festival included over 170 films from
dozens of countries,
including
France,
Finland, Canada, Germany, the Netherlands, Argentina,
and Mexico.
festival, the Cinema

Expo packed the most possible screenings
into the least amount of time. Although
unique
truly
the relentless succession of films was a bit

dizzying at times,
total
immersion
ultimately enjoyed the
in cinema.
Most of the
filmmakers were actually present, providing an opportunity for prolonged discus-
Kathryn
sions spanning successive days.
Ramey, who showed her haunting film

Razed by Wolves, said her "only negative
critique
is
that there was
no structured
discussion time where filmmakers could
have a
work
sort of roundtable about the
and/or current events in the experimental

film world."
Ramey proposed "an opening
night schmooze -fest where filmmakers
can meet and
greet."
agree and would
further suggest that experimental film-
makers and the film community
of the festival highlights was a
workshop
high
should support
both financially and
at large
promising festival
this
actively, so that
it
will
continue in the future.
M.M.
Serra
curator,
is
a film/video
and
artist, teacher,
director of Film-makers'
Cooperative in
New
York.
dent, and repertory cinema
Doclands in Dublin
A New Market Debuts
Walking through Dublin's Temple Bar
neighborhood, one hears almost as many
foreign languages as one would expect on
Manhattan's Broadway, and there's barely
Irish
accent to be found amongst the
employees of local
European; we're
is
stores.
Dublin
the
is
where we once joked, "We're not
city
up
living
to
Irish,"
but today the city
reputation as one of
its
neurial energies of
Road
unique
Rise Up, the result of a
laboration between
New
York-based
colIrish
photographer Alen McWeeney, acclaimed
documentary filmmaker John T Davis,

and one of Ireland's foremost film editors,
Se Merry Doyle, was the
festival's
opening
King,
Elvis
first-ever festival
documentary
Doclands, Ireland's
and market dedicated
film.
The three-day
which took place
to
event,
Temple Bar from
in
October 24-26, boasted an impressive

schedule of 23
including
films,
world premieres, 11
offered a
documentary market,
industry seminars,
and
Maysles for young
Irish
The
festival's
proposals
Direct Cinema, Albert Maysles, interact
with a predominantly younger Irish audience.
"I
don't
Merchant's Arch
right
in
remember enjoying seeing
Dublin's Temple Bar district,
across from the famous Ha'penny Bridge.
Emylou Harris to Los

Ruben Blades to a wailing Tom
Costello,
Lobos, and
Waits.
The documentary
tive sense of the
and song in
builds an effec-
important role of music
political struggles
the twentieth century. Talking
throughout
to the
Dead,
three
and
Irish premieres,
an Albert Maysles retrospective.
was the experi-
ence of seeing one of the pioneers of
and diverse
cosmopolitan cultural centers.

is
central character.
dynamic music documentary
is
that features an impressive
array of musicians, from Pete Seeger to
sign of this
its
Particularly rewarding
Freedom Highway, directed by Philip
film.
Europe's more prosperous, vibrant, and
One
a booking
no small part, I suspect, to the popand apparently boundless entrepre-
in
ular
DONAL O'CEILLEACHAIR
an
due
It
also
parallel
a masterclass with
filmmakers.
impetus was a request for
circulated
by the Irish Film
Board, based upon calls for a dedicated
documentary event "made

ers at a
by.
produc-
Film Board documentary policy
discussion in November, 1999," according
Rod Stoneman,
to
Irish
festival-goers to Doclands.
Less than a year later, the festival had

been pulled together by the Dublin-based
events facilitator Ion Entertainment.
The
program included an eclectic blend of

international
Gaea
tor
Representatives at the Irish Film Centre welcome
chief executive of the
Film Board.
documentaries,
Girls (U.K.),
Kim
including
award-winning direc-
Longinotto's film on Japanese
female wrestlers; Images of a Dictatorship
(Chile/Canada),
Patricio
Henriquez's
powerful film on Pinochet's regime in
&
The Holy Brotherhood of Steam

(Finland), Heikki Kujanpaa's
account of legendary hot sauna bather
Chile;
Agony
Kake and
his preparations for the
sauna
world championships; and Chris Smith's
Collins
documentary
by
directed
Film Fleadh
festival), impressively wrestles
Irish culture
and the
Shimmy Marcus' Aidan

the Universe
Ireland's
characters.
is
most eccentric underground

Aidan Walsh himself, dressed
and sporting a king's

crown, personally thanked each of the
in a psychedelic cape
audience members as they entered and
this
showcase
for
new
Irish
documentaries,
both powerful television documentaries
and potential
theatrical releases.
May
the
Walsh: Master of
a touching portrait of one of
its
left
festival screening,
documentary impressively began
week-long theatrical release
at
the
festi-
main venue, the twin-screen Irish

Film Center (IFC), which is Ireland's primary venue for international, indepen-
val's
much
Salesman for such a long time as
as
did tonight," announced Maysles as he
stood up to thank the audience.
How
this
documentary can pack a house of

enthusiastic young Irish cinema-goers
classic
over 30 years after
present.
the screening. After
an important
traditions surround-
ing Irish funerals from pagan times to the
Movie.
also provided
Pat
with the ever-present concept of death in
Sundance 1999 award-winner American

Doclands
maker
(former director of the Galway
its
release,
when
it
took
almost that long for U.S. television to

broadcast the him,
is
one of those endur-
documentary world.
featured two industry sem-
ing ironies of the
The
inars.
has
festival
One was on
come
to be
TV' and what
'Reality
known
as
"docusoap" pro-
gramming. The other was
European
Documentary Network (EDN) Workshop

on European Documentary, with a focus
on co-financing and distribution. Tue
Steen
Miiller,
the
head
ol
attendees on a guided tour

rary
ot
PN. look
contempo-
European documentaries, showing
Maul. 2001
THE INDEPENDENT
23
CALL US!
1-800-431-2050 ext 121
Human
Relations
Media
has been a leading
educational videos/print
based U.S. Independents, a cooperative
market that
organization that seeks to provide a
is
for*
25 years. Our specialties are

K-12 health, drug education,
math, science, guidance, career

education and language arts.
We're looking for new
events such as these. "While Doclands
As Steven
Seidenberg, an
American producer based
in
over 30 years, observed,
"It
London
for
close to
is
41
Kensico Drive, Mt. Kisco, NY
www.hrmvideo.com
10549
ample opportunities
for
is
does allow
it
producers and
funders to meet and explore possibilities

in greater detail
The attendance of people like Villarreal

and Betsy McLane, former executive
director of the International Document-
the expensive, lengthy, and time 'Consuming process of coproduction;
uncommon
to see a long
and
of funding
end of European documen-
credits at the
prising
not that
it is
list
in certain instances
sur-
Irish,
get-
utors.
co-production,
"Out
of the 10
films
shown
tiller
it
state
Norway
theatrically in
documentaries."
Nordic countries apparently invest
and European producers and distribHowever, U.S. independents simul-
taneously face
measure of concern
was
about Hollywood-type dominance in the
that
field
most popular Norwegian
four were
would suggest an increas-
ary Association,
is
it
and depth."
ing interest in the dialogue between U.S.,
where productions ended up
of documentary.
"Many European
broadcasters don't like being colonized by
American market because there
[last
the
The
many documentary channels
a lot of
already
the
calling
are so
in the U.S.
tune,"
states
Fax:914-244-0485
[email protected]
resources into producing, distributing, and
marketing their documentaries, and audiences "don't care
if it's
fiction," says Miiller, as
documentary or
long as they are
engaged.
f\
VITAL
COMPONENT OF DOCLANDS
IS
"an opportunity for documentary profes-
from Ireland and abroad
sionals
AVID
to
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arena," according to Doclands organizers
market took place
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March 2001
at the Project, a
and performance space,
nearby
an
in
The
infor-
for easy
and com-
missioning editors. In attendance were
"Although
independent filmmakers
tant, I'd begin to
plus 16 commissioning editors from
10 key production/distribution compa-
Noticeable was the absence of major
European commissioning agents from

entities
such
as Arte,
BBC, and Channel

of Doclands'
4,
Canal
Plus,
hoped that
its
reputation will spread and attract these
heavy
"[We were]
examining the venue as a
hitters in the future.
interested in
to] their
is
attendance, the
editors
in
and scheduling of the
size
event allowed for invaluable time to be

spent with those
who
did attend. I'm not
would have been

more high-profile
Amsterdam Forum and herein lies the
attraction of a smaller and more intimate
venue like Doclands. With the success of
sure whether delegates
so "fortunate
at
the
the festival organizers look
becoming an important and

popular venue in the European documenit
tary circuit in the years to
Doclands
can
come.
contacted
be
at
www.docos.com/doclands
ZDF, the
but with the success
first year, it is
very impor-
international commissioning
this first year,
filmmakers and produc-
is
be more [open
some adequate degree of reciprocity

access to American funding for European
documentary makers."
Although there were only a handful of
forward to
Irish
to
European funding when there
whom
were
According
Stoneman,
think the work of American
over 60 delegates, the vast majority of
Donal O'Ceilleachair
based
in
New
York
who
is
an
Irish
atterided
search of completion funds for his

length documentary,
City at the
End
filmmaker
Doclands
first
in
feature-
Cuzco: Chronicle of a
of the Century.
He
is
also
founder of the Ocularis venue
in
Williamsburg, Brooklyn.
possible
defunct
THE INDEPENDENT
Dolan.
interaction between delegates
nies.

SPECIAL RATES
FDR INDEPENDENTS AND ARTIST
PROJECTS
Gemma
mal cafe atmosphere that allowed
ers,
PROTOOLS
meet
to
business in an international
Sara Corcoran and
arts
Seidenberg.
access to
the festival market, developed to present
24
not at that level of market,
impossible to fund a documentary out of a
year],
800-431-2050
cal link
single country." Productions are subject to
encouraging to hear
DOHffl
criti-
cultural borders were well demonstrated
international
HUMAN RELATIONS MEDIA
Villarreal, director of Virginia-
posed by a multitude of languages and
producers and commissioning agents alike
ting financed. Despite the complexities of
ff4M:
states
between producers and distributors, and organizes delegations of U.S.based filmmakers and producers to attend
taries,
videos to distribute.
almost as large as that in
the U.S., the complexities involved for
in the seminar.
producer/distributor for
Meg
some highly engaging clips from recent

productions. Although Europe provides a
alternative
to
the
currently
London Programme Market,"
INDIGENOUSLY YOURS
The ImagineNATlVE Aboriginal Media Arts
Faye Ginsburg
BY
Technology could be a source of genocide
if
we do
not keep a balance within our communities.

Digital interfaces could be the
of today,
if
we do
new
missive of the idyllic
if
boring
CELEBRATING
100 YEARS
!
that her
life
adoptive mother (Tantoo Cardinal) has
Indian Agents
not recreate and nurture
DeWITT STERN GROUP, Inc.
Festival
this
technological world.
given her until she encounters her

fortunate biological brother
Darlene Naponse (Ojibway)
the big
who
youth on the
ized as a Native
is
less
brutal-

INSURANCE
streets of
420 Lexington Ave.

city.
Tel:
Welcome to ImagineNATIVE, a brave

new world
in
which Aboriginal
'warriors'
indigenous filmmakers to discuss, strategize,
people struggle to stay connected to their
ences as
9-12,
Media
the
ImagineNATIVE
Arts
(www.aboriginal
Festival
media.org) had
its
Aboriginal
debut in Toronto, dur-
ing the city's 'other' film festival.
NY
In addition to a wide range of genres,
Australia and 'two-spirited' First Nations
From September
York,
the festival also brought together diverse
hunt the heads of colonial statues across
traditional communities.
New
212-867-3550 Fax: 212-949-4435
and learn from each others' experiand
artists
provided
activists. It
multiple opportunities for people to
workshops
professional
in
meet
addressing
outreach to youth, the need
for
mentoring, the potential of new media
to
overcome geographical boundaries,

and (as a case in point) an inter-
212-297-1468
issues
such
as
national video conference discussing the directions of Aboriginal
media
Jennifer
212-297-1445
next millenni-
arts in the
Brown
um.
Filmmakers and actors present
from
Canada
remarkable
included
the
Native
lady' of
'first
filmmaking, Alanis Obamsawin,

Loretta Todd, Shelly
as well as
Niro, and Shirley Cheechoo, rep-
resenting the next generation to
the
carry
torch,
Compton, program
plus
Jim
director of the
fledgling AboriOff with their
Organized by polymath
artist,
time
activist,
and
festival
heads: The noggins of European
Riley's Confessions of a
work,
Cynthia bickers (Mohawk/
nous communities
the
U.S.,
Mexico,
in
the
national
Six Nations), the festival was an ambitious effort to screen
Net-
Television
Head Hunter, an
Aboriginal road movie.
director
People's
ginal
colonialist statues are severed in Sally
first-
works from indige-
Canada/Nunavut,
and
Taiwan,
Brazil,
first
cable
channel devoted to (and run by) indige-
nous people. In
groundbreaking
effort,
Imagine -NATIVE also reached across the

globe
to
indigenous mediamakers from
The packed opening-night
the Pacific, bringing special delegations
screening demonstrated a wide range of
from Taiwan and Australia. In addition to
Australia.
genres and the aspiration of
many
indige-
nous directors to leave what some

'the
documentary
ties
were evident
ghetto.'
in
Blood River by Kent
The
call
possibili-
the opening film
Monkman,
half-
an evening of performances hosted by the

Republic
of
China
on
Taiwan,
showed
Taiwan's
several
Public
produced
pieces
Foundation which, when
July 1998, established a regular
and
Aboriginal issues, Face
many
filmmakers. Here, the story
is
told
through the eyes of Rose (Jennifer Podemski), a
hip Native law student
who
is
dis-
it
to
went
to air in
forum
EXCELLENT RATES
EXPERIENCED EDITORS
at
Service
Television
complexities of Native kinship, identity,
work of so
the
Taiwanese filmmaker U. Mafu Balalavi
hour drama that explores the enduring

privilege that shapes the
NON LINEAR /LINEAR

OFF LINE /ON LINE
BETA SP, DV EDITING
CD-ROM OUTPUT
for
Face with the
and an indigenously produced

Aboriginal news magazine.
(21 2)-21 9-9240
Tribes,
From
Australia,
EMAIL:
[email protected]
two talented young
March 2001
THE INDEPENDENT
25
o^ê
mm
MERCER STREET
Australian
MEDIA Independents
1QQXS
PRO TOOLS 24
Discounts for
Pauline
producer/directors,
Clague and Sally

of short
Riley,
showed
pieces
fiction
a selection
that
employed humor, elegant
skillfully
and
plotting,
evocative mise en scene to address topics
Non-Linear Video Editing
Sound Editing
Sound Design
Hunter
Effects
;<?
Orig inal Music
and the
II
racial
tensions dividing black and white cattle
hands.
Sound
World War
soldiers in
Voice Over
treatment of Aboriginal
as diverse as the
in
of a
Confessions
Riley's
is
Head
an antic Aboriginal road movie
which two young men
resort to 'head-
hunting' to rectify the dishonorable treat-
503-11
Broadway Rm.
519,
NYC
212.966.6794
ment of one of
their ancestral warriors.
Riley also heads the Indigenous Film Unit
of the Australian Film Commission, which
has played an instrumental role in nurturing the feature filmmaking
generation of indigenous
skills
of a
new
artist- activists.
While there has been steady
(if
modest)
support in Australia for Aboriginal media

in
both the outback and among urban
filmmakers, Riley voiced concerns about
who
has the right to
stories, a
tell
certain kinds of
debate echoed by
many
atten-
Speaking about the concerns of the
dees.
'stolen generation' of mixed-race children
who were
taken from Aboriginal mothers,
Riley noted, 'First they stole the children
and now they're going
to steal the stories
Our next big challenge is to

stories.' The good news is that so
about them.
claim the
many
indigenous filmmakers
many
just that in
are
doing
different kinds of pro-
duction centers, from the community-
based Chiapas Media Project, to indige-
nous directors heading
to
Sundance
or
Cannes.
Events and screenings were centralized
downtown Toronto, but

number of offsite venues accommodat-
at the Marriott in
ed other screenings or events co-sponsored with the Toronto International Film

Festival.
This supported the
ambitious
programming, but also dissipated atten-
dance and made
it
difficult to see
work
same time, a common

festival hazard that can be addressed easily by setting up video viewing rooms.
programmed
It
seems
effort
at the
fitting that
would happen
in
such a pioneering
Canada, a nation
at the forefront of First Nations'
media
since the launch of the Inuit Broadcasting
Corporation in the 1970s. Thirty years

later,
Canada's
First
Nations people have
again led the way.

Faye Ginsburg
is
director of the
Culture and History at
26
THE INDEPENDENT
March 2001
Center for Media
New
York University.
when
logue
is
a speaker close to the subject
unaware of being recorded. Sometimes
even the subjects forget they are wearing
Testing Testing
Choosing
them.
But there are drawbacks
Radio Mic
the Right
or placement of an actor or
Larry Loewinger
by
as well.
sound
passed the parking lot," my
friend advised me.
half from
my
streets of
New
He was
a block and a
always up front.
is
apartment, walking on the
microphone
transmitters,
my
comfort
through the
my
apartment,
dials
of the mixer to which
And
were struggling
one
as
interaction
unwanted)
(sometimes
between the sound mixer
quality.
radio mics do.
The
Two
almost dead, the
other wheezing and coughing the
way
other two were dis-
Four radio microphone systems: (back

right),
playing
reasonably good manners with
only occasional drop outs. One, in
exhibited
What was
surprisingly
significant
stable
was not the
their worst, that they
were working
at all
ment that is New York City.

The radio microphone systems we were
all
in
the $1,000
to
(front left to right), Lectrosonic
and Sony.
signal.
fact that
in the intense radio-frequency environ-
evaluating,
left
Audio-Technica and Sennheiser;
fact,
these mics were struggling, but, even at
price
list
A wireless microphone system

a
FM
highly miniaturized
station.
The
subject
is
radio
wears the
which
radiates
between 50 and 100 milliwatts of
rf power several hundred feet out
to the receiver, which is somewhere near
transmitter
Microphones and accessories that are available with

the digital video radio mics (from
range and
all
intended for the
digital
video market, reflect the advances that

radio frequency technology has
made
in
Audio-Technica, Audio-Technica, Sony, Sennheiser, and
phones operate in the same bands
Lectrosonic. The microphones range from $50-$100.
television stations,
2-13) and
High Frequency (UHF) range (470-806

Megaherz), these devices were far more
in
resistant to interference
than the older
UHF
between the
advent of
bandwidth
both
VHF
as
do
(Channels
(Channels 14-80), only
TV
channels.
With the
digital television, the allotted
for
wireless
microphones
is
Very High Frequency (VHF) units (150-
steadily shrinking. If you're buying a used
216 Megaherz) they have replaced. Their
rf mic, be careful not to choose one

whose frequency has since been given
frequency
radio
coverage
(rf)
increased, too. Bear in
mind
that
has
we are
some
only talking about a reach of

feet
in
circumference,
but within
over to
digital
TV.
save
time.
That's
true,
although
it
is
sometimes
evolved to the point that, in a sense, we
convey dialogue from someone deep in
to basics.
The emphasis
no longer on merely securing the
is
rf signal
through the use of expensive high-gain

antennas,
sound
but rather on getting good
maximizing the sound
the lavalier microphone.
quality of
at the cost of quality. Wireless
mics have other advantages as well. They
the
frame
who
otherwise
couldn't
be
They can enhance dialogue

softly spoken. They can retrieve
recorded.
that
is
dialogue in a noisy situation, such as on

city streets. In a
and
his or
your
her actors or subject. There are
who
actors
hate them and will sabotage
efforts
hardly a film,
to
use them. Nonetheless,
TV
show, or musical stage
performance can proceed without them.
What
should you look for
when buying
a radio microphone.7 Professional sound
mixers today expect that their radio mics
Production people believe radio mics
which reach the rf signal is far more stable. Wireless microphone technology has
have gone back
left to right):
the sound mixer. Production radio micro-
the last 10 years. By operating in the Ultra
300
mics,
point of this exercise was to test the
mics for range and audio
still
be a prob-
radio
an
require
each radio mic receiver was connected.
The
rf inter-
still
the people wearing them,
cruised
mics have become,
they invade the privacy of
muttering friend. Back in the

of
as radio
lem.
heads turned from their guidebooks to
watch
are
As good
ference can
tourists'
as
when
mics
rf
involved.
York City on a cold, blus-
a constant
is
headache, especially
multiple
day and talking into four wireless
tery
documentary
subject within the film or video frame; the
Clothing noise
"I've just
With
radio mics one loses a sense of perspective
documentary environ-
ment, radio mics allow you to
will
be as miniaturized as possible; they
expect a balanced
XLR
audio output,
detachable antennas that attach firmly
and securely
with
to the units, a transmitter
reasonably standard microphone
input connector, mechanical ruggedness,

ease ot operation, comprehensive metering, a
tem
high-quality diversity switching sys
(more on
switching
this
(agility),
below),
and
frequency
secure operating
'steal' dia-
March 2001
THE INDEPENDENT
27
range of about 300 feet in circumference.
Most of all, the rf microphone should

sound good. All these requirements come
at a price, and the cost of professional
wireless
microphones can be
quency
agile,
steep.
A fre-
diversity system begins at
about $2,300, and can approach $5,000 at

the very top end.
If
you're a filmmaker or
videographer planning to spend
less
than
$1,000 on a wireless microphone, what
compromises can you expect and can you

live
with them?
Due
to the rapid strides in rf technolo-
gy, wireless manufacturers
to
pack a
Menus
units.
have been able
lot of quality into their low- end
rather than switches have
shrunk components and brought down
have unbalanced mini-plug
their price, as
audio outputs and receiver and/or transmitter antennas that remain permanently
attached to the units. Only one of the
sys-
tems that we examined works on a diversity
ing
switching principle. Diversity switch-
shortened to "diversity")
(usually
involves a
method of reducing multi-path
dropouts by utilizing two antennas or
back and
receivers that seamlessly switch
forth to eliminate out of phase rf signals.
While
diversity switching
may
increase
the reliable reach of a radio mic, the pri-
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is
in
the
an increase
Because diversity technology

it
range.
so reliable,
is
has meant the beginning of the end of
cables
on
sound
cart.
There
are profes-
know who do all

wireless boom mics,
sional mixers
recording via
wireless mics,
and
of their
lavalier
wireless headsets. In
the digital video world, more producers,

directors,
and camera people want
up the sound person and
his or
mixer via a radio link to the
That connection
in rf reliability
operating
system's
sity rf
is
usually
DV
camera.
best served by a diver-
microphone. But there
diversity,
to link
her audio
in
money
is
a cost to
spent,
extra size of the receiver, and
its
the
power
consumption.
ML****'
There are
^
^Tf
78 .259.9988
e-mail:
fax:
78 .259.9966
1
[email protected]
Send VHS submissions to Brian
28
THE INDEPENDENT March
2001
Gilbert, Director
manufacturers
digital
who
video radio micro-
phone market: AKG, the Austrian microphone manufacturer; Audio -Technica, a

Japanese maker of consumer and prosumer products; Lectrosonic, the leading
American maker of rf technology;
Sennheiser, Germany's largest producer of
microphones and headsets; Sony, whom

tel:
six
dominate the
of Acquisitions
we all know; and Telex, an American

company best known for its communication systems.
have investigated the four
Audio-Technica,
Sennheiser, and Sony
most popular brands
to
Lectrosonics,
how each responded
see
DV
to the
mar-
While we did no formal rf measurements and no test instruments were

ket.
involved,
al
we subjected
the mics to sever-
rigorous but informal tests that you as a
consumer can
someone just
field and had
We
do.
as they
placed the mics on
would be used
in the
that person walk the streets
New York to
We jangled keys
close to the lavaliers,
we shouted
them
see
of
into
how
mous amount
lavalier
is
rf
compandor
agile.
sys-
switches,
we looked
at
were
fre-
In two cases the frequency
were made by mechanical
alterations
and
in the other
accomplished by
the
connector:
U100
series,
which
is
only diversity receiver
among
the group.
Audio
the
also the
and audio parameters are changed

by means of mechanical switches, and it
requires two batteries to operate the
Its rf
receiver, the only
one
to
do
so.
Since
it is
not as ergonomically pleasing as some of
we had was
the other units, the question
whether
its
performance would override
appearance and the large
receiver.
The answer
Technica's
by much.
was that
rf
Its
is
reach was the longest,

audio quality
is
The Audio Technica U100

if
The
its
if
not
exemplary, as
wireless
you don't need
receiver to attach to your
of
we examined.
for all the systems
a good buy
size
The Audio
yes.
DV
mic
is
small
camera.
smallest system and probably the
most ergonomic
receiver and
its
is
Sony's
companion
WRR-805A
transmitter,
in
TA
AUDIO, VIDED & INTERACTIVITY
on
very handy
same.)
the
operate.
to
Rare
the
is
CULTIVATING
Sony and Lectrosonic systems. Sony's
strength of
parameters save one
all
rf signal.
its
While
this
[212] 431-1130
596 Broadway
harvesrw
Suite
602 inSoHo
@ dti.net/www.harvestworks.org
.ts_!>o
four units.
all
a serious weakness,
is
the
TALENT
operating
rf
Its
range was the weakest of
Program
situation
switches
it is
not
a fatal flaw as long as you don't push the rf
envelope.
may
less
Digital
be the most accom-
American manufacturer of
plished
DV
the 100 Series transmitter and
is
As
non- diversity system
range,
rf
The
resembles
physically
it
had
AVID
approaching Audio
Technica's diversity system.
high- end transmitters.
The microphone
in
found on Audio Technica's
the same as
is
Wouldn't
be nice
it
manufacturers standardized to
this
is
ly
con-
done mechanically. Its receiver is

one drawback a permanent-
attached
antenna
and
plug. Clearly this receiver
output
its
As lone-time
AIUF members
is
intended as a
our goal
camera-mount unit. The Lectrosonic system is the most expensive of this particu-
is
Germany, Sennheiser
is
to help
other independent
^producers and
group.
In
hr building
AVID 1000/AVR77
appears on an unbalanced female mini
lar
mid-town
if all
nector? All switching in the Lectrosonic
small, with
large rooms
with a view
24
wireless mic.
rental
transmit-
Lectrosonic's
input features a Switchcraft connector,
system
Media Arts Center
wire-
microphones. Their entry into the
market
ter
quality.
XLR
its
easy
excellent
Only one of the mic systems comes

an
also
it
Generally speaking, radio mics are very
receiver.
soft-
with a balanced audio output delivered

via
does
(Lectrosonic
thing.
and
microphones of varying
Technica
transmitter and receiver
its
two they were
a digital display
ware. All systems were supplied with lavalier
easy to attach to var-
operating manual,
multilingual
Lectrosonic
All four systems
it
cameras. While Sony provides a
prints the basic operating instructions
as well.
quency
DV
ious
attractive in
them from audio overload
which can overload the transmission
tem
make
that should
this
major chal-
is
classes & tutorials
a very clever and flexible receiver harness
cir-
shouting into the
umall
also supplies
and software. As you might

expect from a manufacturer of DV cameras, Sony has produced a system that is
measure of how these systems'
limiters protect
the
it
functions were altered by a blend of hard
Reproducing
And
Sony
lightest of all four mics.
hard
in
than metal, making
plastic rather
way of measurcompandors and
of high frequency energy
mic.
the only system to
is
elemental advice offered on the shells of
sound without distortion

lenge to an
and be encased
and
that can severely tax the

cuitry of a radio mic.
It
where you need more than the kind of
produce an enor-
limiters. Jangling keys
WRT-805A.
AA batteries
they performed.
as a
ing the quality of their
the
use
editors
>?
major
manufacturer of both consumer and professional audio products.
quality
regular
It
Our rates are
exports high-
microphones,
competitive
headsets,
and high-end radio microphones which
DIVA
are found mostly in the theater world.
The Evolution
into the
DV
series,
market,
which
is
is
a solid
their entry
example
current technology. Like the Sony unit,
ol
it
Edit
1-800-324-AVID
330 W 42nd St NYC
March 2001
THE INDEPENDENT
29
J^SJSJ-jL,SJi
makes
frequency changes through
its
ware. Both of
its
market
soft-
antennas detach from
their respective cases. It
is
good
rf range, trailing the Lectrosonic and

Audio Technica microphones by only a
small amount. However, when it came to
audio results, the Evolution 500 per-
formed
when
jangled too close to the lavalier.
you listened
Which
is
closely, the system's
cost. If
If
virtues
good
you want the superior
tion
in
is
when
is
the
transmitter's
set carefully,
this
microphones
its
Evolution 500
one of the better
able with
lavaliers
minimum
price they permit their
their Jist prices
dealers to advertise, the

Advertised Price or
MAR
it
as a reference.
it
us understand
avail-
it,
mysteries.
it
more
$15.95,
for
click
it is
very useful
it
on Wireless
when
is
from the
free
(www.lectrosonics.
guide).
And
that's
the switch to digital tech-
nology keeps filmmakers digging into their

pockets.
for
Larry Loeivinger [[email protected]] is

an audio engineer and documentary producer.
granted every time we turn on the radio.
on the
lists
com,
Few of
but we happily take
include far
What's more, even though
Lectrosonic website
no design element
life's little
may
this
may promote Lectrosonic products
a blessing
one of
is
While
(though not too heavily),
To most of us, radio frequency technology
Micro-
THE ESSENTIALS
Most manufacturers report two price

structures
is
things well, but
Wireless
information than you want to absorb and
stands out.
leading manufacturer of regular
the
is
Design.
The
is
a substantial booklet pub-
is
by Lectrosonics,
phone Systems: Concepts of Operation and
of
range
no longer
is
item to help you comprehend
mystery
lished
middle of the road choice that does
many
mic
problem
this price
One
bliss.
this
reliability
the Audio Technica U100.
In most
buy a radio mic, ignorance
then your only selec-
Sennheiser Evolution at
input gain
it
camera mount system, your choic-
Background noise appeared

situations,
its
you go into the broadcasting busiwhich you inevitably do when you
ness,
some notable drawbacks.
reproducing low-level sound information.

gritty.
namely
rf reliability
When
to choose? If your requirement
diversity technology,
won't be apparent. Given that Sennheiser
is
its
its
Sony or the Lectrosonic,

which have better rf reach but greater
compan-
dor seemed to have some difficulty
for a
for
es are either the
Keys distorted badly
well.
less
clearly has
MKE2-EW,
pay a premium. While the
rugged build and
with
field
Sennheiser
will
Sennheiser mic has
mechanically
rugged and performed in the
the
which you
and the
The Audio-Technica lavalier placed inside
vides
Minimum
some
remove the
But neither
isolation
clip
from the
shirt but
and tape the microphone
between the buttons. Be careful not
to
man's
it
also adds bulk. You can
shirt.
The
clip pro-
to the inside of the shirt, in
cover the mic's diaphragm.
A Sanken lavalier placed
in
the knot of a
tie. In
lavalier is actually hidden within the knot, at
a working situation the

its
edge. This rigging
is
easier done with a cylindrical!'/ shaped mic like the Sanken. (a
Japanese brand
of lavalier)
the price you are likely to pay. You
should pay
Shop around. As
less.
these are prosumer items, they are

available in a wider variety of stores
than high-end, professional audio
equipment.
Audio-Technica
U100 Camera-mount UHF Wireless

Microphone System: Model U101: $1,049.
(Audio-Technica provides only a
microphone
Lavalier
list price.)
is extra.
.www.audiotechnica.com/guide/wireless/ul
OO.htm
2
100
Lectrosonics
Series Wireless 'System:
Transmitter,
Receiver,
lier.
MAP
MAP
UM 100
$688.50; UCR 100
$845.75. Comes with lava-
www.lectrosonics.com/wireless/wire-
less.htm; scroll
down
to the
100
series
group.
Sennheiser
Evolution
500
Series,
EW522P System.
MAP, $979.99. www.sennheiser.com/evolution/ew|/ewl.html; click on 100,
300
or
500
series buttons.
Sony
UHF Synthesized Portable Wireless System
805/44CAMPK68,
this model.) With
list
$1,300. (No
WRR-805A68
WRT-805A68, transmitter;
44BMP
MAP
on
receiver;,
lavalier,
ECM-
A Sennheiser lavalier clipped
www.sony.com/professional; click
on "pro audio" and then "wireless mics".

Note: The Sony
web
site is old
phone on someone,
clothing so that
it
to a bra.
try to isolate
moves
it
Whenever mounting
a micro-
from the clothing or attach
it
to the
easily with, rather than against, the clothing.
A Sonotrim lavalier clipped to a bra. This lavalier

holder dubbed the "vampire"
clip.
clip,
with
its
is
30
It
is
into the
The Sonotrim and Tram, as good sounding rectangular mics, are
anCnbt easy
This clip achieves that purpose but
it
is
rather bulky.
popular
among
professionals. For hiding lavaliers, rectangular mics
tend to be available with better mounting hardware.

to navigate.
placed within a
diaphragm facing
currently being updated.
THE INDEPENDENT
March 2001
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001001001001001001001001
SOUTH BY SOUTHWEST FILM CONFERENCE
MARCH 9-17
FESTIVAL
AUSTIN TEXAS
A nine-day celebration
spirit,
critical
in
SXSW
of cinematic vision
Film's diverse
programming
and independent
attracts international
attention. The film festival annually showcases the best
new and independent
international film, with an emphasis on
innovation and unique perspectives.
SXSW
hosts retrospective
screenings where the classics that changed the face of cinema

are re-explored, presents an off-beat midnight series, and
highlights shorts from around the world.
REGISTRATION RATES + DEADLINES: Register by February

2001 for the
and go
rate of $215;
to the film
FILM FESTIVAL RUNS
page
Walkup
rate
is
to register online
MARCH 9-17
$255.
Visit
and for
FILM CONFERENCE RUNS
9,
SXSW.com
details.
MARCH 9-13
REGISTER OKLIKE
5
SXSW
PO BOX 4999
UlW
AUSTIN TX 78765
512/467-7979 -FAX: 512/451-0754

EMAIL:
SXSWiSXSW.COM
;>'if.
rCIRRUS LOGIC
NEXFEL
DO
YOU TRUST YOUR
interpretation?
The
OWN
MEMORIES?
MEMORY MORE FACT OR

new thriller Memento is a
IS
elegant, unsettling
mental and visual jigsaw puzzle that explores these questions
an ingenious way
the protagonist of the
new memories. He has no

Or does he?
The film begins with a murder,
to create
in
film has lost his ability
choice hut to trust just the
making short
seven,
He
his first feature film, Following,
geter,
the film was acclaimed at
saw
is
instantly
first
And
so
we begin
found backing
with the grand tradition of a corpse and a mystery, but
this time,
it.
many
festivals
After Following, Nolan
next
for his
film,
a short story written by his brother
"We
know whodunnit; what we
don't know is why he dunnit."
The murderer is
leap for the director, both in terms of
its
The Independent
In December,
recedes, in slices.
rhythm
a tale
its
budget
In
Memento,
did you choose to
of the film
sat
tell
the story
in
back toward the why.
to
from him
ic
short-term
He
is
the
memory
loss.
forever stranded at
height
of grief and
My
to talk
fragments so that the
would mimic your disturbed protagonist's mind?
Absolutely.
and leaves him with chron-
on March
and vengeance movies.
with parallel timelines that jump across, so
Leonard's wife
low mil-
down with Nolan
noir, story structure,
told backwards, beginning
night, tragedy takes
(in the
theatrical release
with the what and heading
One
will
film represents a significant
16 (via Sony Pictures Classics).
about memory, film
It's
this year.
Room, Austin Powers), and
(LA. Confidential), and the story

proceeds, or, more literally,
Pearce
Here he
resides.
Following,
first film,
make another
had
a nonlinear structure,
I
was not intending
film with a disjointed structure.
been told the idea of the film by
my
But once
memory
I'd
who was
brother Jonathan,
writing a short story about a guy with a
condition,
we
both agreed that the most interesting way to approach that concept was to try to
tell
the story as subjectively as possible. So the
how
structure arose from literally sitting around thinking:
can
get the audience into this guy's head?
desire for vengeance. This
with was to
hopeless condition slowly
each color sequence,
tell
The
idea
best
came up
the story backwards. Each successive flashback,

a
is
little
further back in time. In that way,
becomes a metaphor for the futility of revenge. Leonard tries to

compensate for his illness with a touching and desperate system
when you meet a character, you, like the protagonist, don't know
how he's met that person before, or whether he should trust that
of notes, Polaroids, and tattoos. These dubious fragments are the
person. All these ambiguities and uncertainties that film noir has
clues he trusts will lead
encounters a
series
him
to his wife's killer.
Along the way he
of colorful, seemingly helpful characters,
traditionally used to prey
become exaggerated.
on the everyday fears that we have,

for a way to reawaken some
was looking
including the fetchingly duplicitous Natalie (played by Carrie -
of the paranoia inherent in those kinds of uncertainties.
Anne
interesting thing about reversing the timeline
Moss, no stranger to metaphysical movies,
e.g.,
The
Matrix)
nonlinear film.
body, a mystery, a "detective," a
femme
fatale?
Memento
playfully uses the conventions of film noir to take a disturbingly
close look at noir
backwards
themes of revenge, paranoia, and dread. In the
telling of the tale,
Memento
also plays with
how mem-
It's
a very, very linear film.
is
that this
The A.D. took
is
The
not a
to call-
remove a single scene, or the

whole thing comes to a grinding halt. Each scene follows very
tightly after the next, more closely than they would in a convening
it
a "dislinear" film.
You
can't
tional movie.
ory functions in the craft of storytelling.
The
29-year-old
Nolan
first
picked up a Super 8 camera at age
But even though

tive, in
32
THE INDEPENDENT
March 2001
terms
it
flows backwards,
of the
producers (Suzanne and Jennifer Todd of
lions), its professional
Leonard Shelby, played by
Guy
now
distrib-
to the U.S.
Jonathan Nolan, which
The
be published in Esquire
Boiler
but poorly
moved
Memento, which was inspired by
as writer/director Christo-
pher Nolan explains,
also
black-and-white no-bud-
Chicago, then Los Angeles, where he
but the bullet
sucked out of the body and back into the gun.
UK.
was a study of voyeurism that
explored the ambiguity of identity.
uted, so few
facts.
films with his childhood friends in the
studied English Literature at University College London, and
it
also has a forward-flowing narra-
emotional truth Leonard's heading toward.
i/lemory, storytelling,
and genre films are redefined

and subverted in the impressive Memento
who
People
Underneath
ture, in
felt,
in
that
figure
it,
out,
think,
very conventional
it's
terms of the emotional
arc.
it
really
the
That was absolutely
making that backwards structure work.
chronology,
get
film.
has a three-act struc-
If
vital,
you ignore the
tern to
by
it.
sitting
starting
did that
down and
write
to
exactly
wanted
the
what
see
on
to
screen,
wanted
as
see
to
going forward are actually waiting for that
is
hook
the timelines will
up.
does have a very intentionally conventional pat-
it
and-white footage
moment when
it.
So I started at page
one and I finished
It's
first
I
a film you
want
to
see twice,
that things that
in
seemed casual the
time round might have more significance on second viewing.
tried
not to be too clever- clever in the dialogue sense, because
you can get into that thing of putting deliberate double -meanings into lines.
ings into
What I
tried to
do more was
to put double -mean-
whole actions and dialogues. Especially the exchanges
between Natalie and Leonard. Her boyfriend has disappeared,

and when she's showing Leonard his picture, there's a sense of
her looking for Leonard's reaction. Those are the kinds of
tests
that other people put before him, which, once you see the whole
film,
you
realize the significance of.
They're continually testing
him
for their
voyeuristic
own
inter-
est.
red/green
I'm
As
colorblind.
at
parallel timelines
them. So
chopped
it
soon
page 120. Following has
and the
film cuts
to
between
up
later
the
in
Memento's structure
is
very different.
so
script
linear that
.....
"The film
ally a lot easier to visu-
alize
it
linear,
Memento, a
most subversive, not as applied

noir,
but
memory.
is
to film
it.
So you wrote
they
thing
stylish film noir that deconstructs the reliability of
was actu-
it
that
stage.
Left to right: Christopher Nolan, writer-director of
It's
tell
someone, the
first
wrote that in a linear way, then
as
but more as applied to revenge
Guy Pearce stars as Leonard Shelby, a man with no shortterm memory who uses a complex system of notes and tattoos
to fuel his vengeance.
Joe Pantoliano
(I)
plays
someone
put the pieces of his fragmented
trying to help
life
Guy Pearce
back together.
backwards.
Yes.
Backwards and
movies. Like Braveheart. Like Gladiator.

for-
wards at the same time.
Because
[laughs]
As soon as you see a
goes forwards, and then

the
on
screen, you
know she's got about 15
minutes before she gets the chop...so

is
that the hero
where
it
The people
up on how
kick-ass
at the point
me
Which
relates
is
then able to go and
memory
What
color
for hours, if
insurance storyline.
the
to
condition, and so his
in
the most nasty way,
Right,
it is.
color.
ance
story,
that pick
how
and we think
it's totally
okay."
it
It's
And
the film
to
this?
is
let
them.
ty in
changes from black-
and-white
is
they'll test
believed himself.
kind of U-turn, or a hairpin
They meet
what color
It's
so
Catholic almost, that he didn't believe that guy's
footage at the end, so
turn.
oh,
And
is,
it
color
the shape of the script
say
that.7
black-and-white footage
meets
beautiful wife
the
penance
is
to
never be
quite perverse.
this
is
a very specific ambigui-
his relationship with chat insur-
how he
tells
it,
what
il
means, and
relates to him.
the black-
March AVI
THE INDEPENDENT
33
You do end up wondering about

the stories he
thought that the
all
one point
At
tells.
we see might
girl
terms
In
the
of
was some
who knows how many times
he's
room?
reenacted this whole loop.
this
Is
picture?
That takes
Interesting.
another
much
[laughs]
level,
very
It's
deliberate.
What
far that goes.
satisfying
who
seem
see
In
Memento, no one
is
is
really stretched
who
are definitely people
is
great,
because
think
all
the
with
this
movie, because there
react against the scenes that are the
work on the
film. You have an hour and three-quarters to watch it. So, I
should be cleverer than you. I've always been drawn to films that
you want to see more than once, whether because of a visual
cleverness of the filmmaker. But
had three years
to
density, like the films of Ridley Scott, or narrative density, like
The Usual Suspects. I was interested in creating a film that you

want to figure out. There are ambiguities in the end, but I want
choosing what they want to believe.
that
quickly.
fairly
to edit
it,
doesn't
you
really
films in structural terms.
my
storyboard in
get bored with
head.
and
it
do a few drawings, and then
usually
figure
it
my
out in
mind. Particularly when
you're doing a low-budget movie, you have to be able to adapt
whatever
it is
you have
end we were
In the
head
in your
able to
to the location or to the set.
come up with some
was very pleased with the motel.
very apt locations.
had an enclosed courtyard,

you can't see anything outside, and it had a kind of spiral staircase and an upper level that's on slightly different levels.
I
So
it
worked as a kind
of
It
puzzlement?
Escher designed a motel,
this
would be
it.
When you
open
your door and look out, you don't have any idea where you
Is
is
always have
Did you storyboard?
Yes, if
people to be put in the position of the protagonist, in terms of
There
my head
work; people don't really view
quite what they seem, including
Carrie-Anne Moss's character Natalie.
answers are in there. Now, the relationship of the filmmaker to

the audience
few scenes, running a few
to be
Which
able to find the answer.
first
realize
the film twice, [who come] with

a specific question,
tightly scripted.
the structure
I'm finding
that people
is
the editing
ended up simplifying the
When you come
how
limits to
in
that you
have to teach the audience
which was very
have
of
We
this thing in
a film that lends itself to
interpretation,
ends
scripted, or
all
scenes together.
to
it
and
done
it
was pretty
It
another
girl,
of
you shaved
finely
scenes, was that
not
even be his original wife, because
another town, another
how
beginnings
Leonard's condition less based on research than
it
is
meant
to
are.
be an
a ripple back effect, at the point where [film-spoiler information
human
exaggeration of a
withheld.] Everything that
condition
general,
in
in
terms
our relation-
of
happened previously becomes suspect.

ship to our memories?
It
does. But,
think that
within limitations.
it's
was not
interI
ested in exploding the whole thing too much, in the way, for
Once you
example, in The Usual Suspects does.

one's been lying,
it
becomes very
find out
terms of
difficult in
some-
how you
did a
was interested in
very
rein in the terms of those
maybe
that
that
woman
lies.
isn't
For example, you were suggesting
Leonard's wife.
upsetting the terms of what he's doing.
It's
would see that
not so
much
metaphorical potential.
The experience
is
much written from the point of view of me sitting there, and

how do I use my memory? How would I cope if it were
as
totally
removed, that
that he's
smooth, quite steady process of alienation from the audience.

in
which the camerawork and the per-
formances combine to clue the audience in a
instance,
bit as well.
The
in the
write
ability
to
make new memories? For
phone numbers on my hand.
two-thirds of the
is
starting to
view him
around with
It's
as
subtle, but
you would objectively
this big
leaves his eye-
get the sense of suddenly
wash of papers
sort of
as this
guy shuf-
mumbling about
The color sequences are all blocked from his

The camera's always a little bit closer to him, phys-
his wife's killer.
point of view.
ically,
when
he's in conversation.
We
look over his shoulder, as
him in a room. The black-and-white

footage is shot a little more objectively; more like a documentary.
We'd take the camera out farther, we'd use a wider lens, as if we
were making a documentary about this guy in his hotel room.
someone comes up
to
THE INDEPENDENT
March 2001
keep
my
don't have to think about
glasses
it.
use
memory rather than conscious memory. We all take

photographs, we all write notes to ourselves, and so he very
much is an exaggeration of this. Now that the film has been seen
by various people who work with people who have this condi-
very specific and there's a point, about
way through, where the camera
line for the first time.
same pocket, so
instinctive
tion,
blocking in the film
34
its
it's
There are some nice ways
fling
wasn't
saying,
more that he's morally suspect.

I've always been fascinated with stories that have unreliable
narrators. And I wanted to make one where there's a fairly
lying,
of research, but not too much, because
little bit
interested in doing a realistic medical portrayal of this thing;
In
they say they find
the traditional
it
way people
surprisingly accurate.
tell
stories in film, they dole out pieces of
information that are pretty reassuringly the next piece of the story.
Whereas your
comes
film doles out the opposite. It's a bit
at you in fragments.
Memento
plays with the
more
like life,
way we
how
it
stories.
tell
With my first film, I wound up having to justify structure a lot.

With Memento I think it's pretty clear that we're trying to put
you
stories in real
it's
And
in his head.
about, because
this
became
life. It's
is
relevant to what you're talking
interested by the
way
that
we
beginning, middle and end concurrent. That's the
read a newspaper.
receive
almost never chronological. In Following,
"Man
Bites
Dog"
is
the headline.
way we
And
as
you
read
expands.
it
it,
like fractals.
And
then the next day,
standing of a story that sort of grows in
Whereas
technique.
if
film,
and
not thousands of years. In
because of television,
Kane,
down
you can
stage,
they have been, for
film,
think probably
If
you look
seems very incredibly
still
it
to justify
Whereas every other

constantly progressing, even just on a
this far
aspect of filmmaking
on
been very much held back.
it's
at the structure of Citizen
adventurous, even
you have
in books, or
use this kind of narrative freedom
hundreds
directions, rather than
all
But too often, in
just in a straight line.

this narrative
almost
filled in,
it's
was trying to play with that kind of organic under-
is
the
line.
technical level.
Guy
could think of that flows backward
based
is
play,
I've
never seen
it,
but people have brought
enced by Graham
Swift's
Martin Amis, which
is
it
up to me.
from the material.
my
not that
it
to watch. It
much
it
The
doesn't
becomes
to prevent the audience
is
funny,
was
influ-
someone
If
later in the film.
want
still
People
him
to view
Which leads
to
that
vengeance but goes
you didn't
whatever.
The main
the
is
loop
that
works.
it
It just
this horrible portrayal
only
way
to get
around
still
he's
perhaps already finished his
moment
film
doesn't need to refresh that experience.
of the unusual things about this condition
is
would never
is
that the anger
fade. You'd always be in the grip of this
of needing vengeance and never getting past that.
most subversive, not
as applied to film noir,
The
but more as
applied to revenge movies. Like Braveheart. Like Gladiator.
soon
as
you see a beautiful wife on screen
Sammy
People
lie
and
story,
feel like
if
As
have to do, because of the studios or whatever, to
my
We
all
indulge in these
we're younger. You know, what would
parents were killed in a car crash,
how would
act in school the next day? This weird kind of self-indulgent fantasy of suffering that
films tend to prey
we
comes down to whether

memory or your visual memory.
memory think they've seen it in a
his wife. It really
favor their visual
even when the film very
same
They
action.
Leonard, but you wonder,
to
tried to present
explicitly presents
both be
can't
two
true.
like a
dog
that's
been kicked,
will
mini versions of the whole story in each scene.
you apply that concept to the
way he is telling Leonard

remember them, you see the
whether he
will
seep
will
in,
absorb
final scene,
cruelty of that.
Teddy
it.
with Teddy, and the
truths because he's not going to
is
But you think about
unaware of whether or not
it
but these things do seep in on some subconscious
emotional
level.
They look
like
That's what
we
tried to
do with the
tattoos.
they were painful, and are an attempt of his
self to communicate with his conscious self. That

been this continuous sort of build up, and what we're
actually watching is in a way the last cycle in a series of cycles.
unconscious
there's
Like a detective, he's trying to develop a fine-tuned instinctual sense for

all
he's got.
but he misapplies the context of the emotions, of the read he's
getting, in the same way the audience does. The same with the
femme fatale element of the film. If you watch the film again, what
does that do to her? In a way, she actually helps him and is actually a good person. It's the duplicity that is the illusion. She has a
pretty good reason to be angry with him in the film. It's a condition that's very hard for the people around him to deal with.
People have related the film to Alzheimer's, which hadn't
occurred to me consciously, but it makes perfect sense. My grandmother had Alzheimer's; it's hard on people, not being recognized.
in
when
have seen, in your

you about them, or
he have some kind of visceral memory?
Memento
the things that the hero does okay.
just told
thing that seems to divide people about the
interpretations of the
way possible, so that the hero is then able to go

and kick-ass in the most nasty way, and we think it's totally okay.
It's this peculiar moral balancing act that filmmakers and script-
make
Someone
in that kind of film,
the most horrible
fantasies of suffering
real-
to favor your verbal
who
you know she's got about 15 minutes before she gets the chop in
writers always
was most frightened to
will believe yourself to

see.
the truth, because that's
does he have next?
Because he has these memories of his wife, of her dying, that fuel
grief
in the interpretation of the end, particularly in regard to
particular way,
If
on.
him continuously. He
and
making the film definitely made him

own memory. You begin to question
of the things that
past, that
Yes,
One
One
There are things you
from seeing that abuse until
What
so
was that thought memory can translate into visual memory.
ize
could not have
in the
condition achieving his goal.
tell
the things you think you know, particularly the things you think
you've seen.
work forwards,
seem to sympathize with him,

way he views himself, which is
as this kind of heroic avenging figure. I had a fantastic editor,
Dody Dorn, and she added an emotional component to the editing. On an emotional level, you want him to get his man. I think
it's working well if, at the end of it, you aren't too unhappy that
it carries on. Because you realize the bleakness of someone in this
they
have stories we
all
the truth was.
read Time's Arrow, by
works, logically
of this guy being abused and abused.

that
It's
film as a gimmick, they're separat-
It's
does. Technically
becomes unbearable
My main defense is that
re-cut the film forwards.

it
Waterhnd, and
written literally backwards.
the structure of
criticizes
because
reminds us we
Harold Pinter's Betrayal.
because you find these things in plays and novels.
it
it
remember what
question things about his
People
ing
don't
Pearce has done some interviews where he really seems to
you tend
on a
we
give the impression that
film
the only other film
In fact,
also disturbing because
It's
often, eventually
explore at various points
in
on that. This film certainly seems

some people uncomfortable, and I think that's why.
our
lives,
to
make
is
seems more
a film that
interested
in
raising questions than
answering them.
There's an interesting tension, between the terms of the story-
and the story
telling
itself.
We
tried to create
answers to
all
obvious questions that did not betray the terms of the
which
is
that
we
are in the
head
of this
guy
who
the
story,
cannot, with any
degree of certainty, say what's just happened. In putting answers

in to
some of
these questions, you actually increase the enigma,
because of the order
of
the storytelling, and the
way
subvert the reliability ot the process of memory.

process
of,
no matter how
backwards, so
it's
Annie Nocenti
tightly
you wrap
actually unwrapping.
is
a screenwriter
and
It's
it
which you
this bizarre
up, you've got
it
actually exploding.
the editor o)
March AVI
in
It's
Scenario mag
THE INDEPENDENT
35
IE
IK
IE
How at-risk youth contributed to and learned from

the making of The Dream Catcher.
B Y Julia Reichert
When
Steve Bognar, Ed Radtke, and
decided to make the
independent feature The Dream Catcher, we shared a core
We
wanted not
make
just to
we wanted
a film;
it
idea.
to be more.
We'd all been through the crazy ego-driven process of creating

one of those low-budget
wonders, and we did not
want to expend all that
manic energy and massive
human
vince the staff at each that this year-long artsy idea would actu-
world and
its
facilities
provide. But
workings. Clearly
who knew and

world.
way of the generally rigid

we did not know the juvie
we needed an emissary; someone
the kids and not get in the
ally benefit
schedule such
We
trusted us, but also was an insider to that
turned to Ed's old probation
graciously filled the
trick
was to keep talking to leadership people
bill.
step
on the
to
more people,
art
something
rience
of
vision
Dream
The
(Clockwise from top
Catcher director/writer Ed Radtke

led the way.
As
a youth,
Practicing dolly
Ed was an
Growing up Asian
tough Japanese
late
mom, Kazuko, Ed
gradually turned his
now
youth." Both of his feature films,
calls "at-risk
Bottom Land and The Dream Catcher, center on rudderless,
young men who struggle to voice their feelings. When our

producing team sat down to plan, months before cameras would
was on our minds.
As head of fundraising,
A happy match was
the Iddings Foundation, has as
its
all
with The Dream Catcher as the

film's
some
brain-
stages of making a feature film,
real-lite
model.
We
believed the
characters and story would engage and effect them.
project
would be topped
off
with the kids making their
The
own short
videos.
With the concept on paper and minimal initial funding in

we faced our next hurdle: finding kids to participate.
Working with existing institutions made the most sense. Here
were kids one step away from serious incarceration, kids in halfway houses and in county juvie facilities. Our job was to conplace,
36
THE INDEPENDENT
whom were
in
treatment
or
The
a fiction film.
following
is
facilities,
the
creative
how we
outlined
the stages of this project:

Script reading
and
story analysis of
The Dream Catcher with
the writers and actors
Storyboarding scenes from the film
March 2001
coach
Visit on-location set of
Visit editing
we designed a yearThe Dayton Youth Film Project (DYFP).

in
kids, all of
through
making
set
these
juvenile
detention
mission
storming meetings with Iddings leadership,
would involve area youth
we were
taking
talk with area foundations,
the support of programs for at-risk youth. After
long program, dubbed
light
begin
Scene work in performance and improvisation with an acting
began to
pitching passionately for nonprofit funding.
A local funder,
Eventually
stand at the Nicholas Youth Center.
iso-
lated
roll, all this
solid."
to
Co-producer Steve Bognar demostrates a
steps of
as-
program sounded pretty
George Foster Home.
life
around. His experiences led him to have deep identification with

society
at the
scene from The Dream Catcher.
in a small
Ohio town during the
work
kids to try their hand at the Avid and recut a
Vietnam War era did not

help. By 1 7 he was both a juvenile felon and a father. With the
help of an enlightened parole officer, Tim Currier, and his
all-white
It
mistrusted.
are
pect was exciting and the
left):
At Wright State University, editor Jim Klein allows
abysmal student and often in trou-
made.
as frivolous,
But the filmmaking
The
what
can be seen
and outsiders with no expe-
effect
behind.
ble.
until
treatment world,
juvenile
itself
to leave
too.
tion. Currier notes, "In the
director's career
The process
mean more, to
ladder.
had
and take
Currier,
The
we found
There were others,
one who got the connection

between art and rehabilita-
resources just to cre-
ate a 90-minute hip celluloid experience
Tim
officer,
who
Hands-on shooting
Work with
The Dream Catcher
room, demo/involvement in
a scene, teens as
digital editing
crew
artist-in-residence to create short films,
each one
written and directed by the group
Screen their finished piece
Attend a
at their facility
Dream Catcher
as a work-in-
The Dream Catcher
as part of the
of The
test screening
progress, offer feedback
Attend the
team
With
just a
gala premiere of
few weeks to go before production, step one was
put in motion. Youth in the four chosen

vidual copies of The
Dream
our breath before the
first
Catcher's
were given
indi-
We
held
facilities
100+ page
script.
filmmaker/youth contact. Would kids
involved, o
a quickly groi
her of school
"linetics'
booming economy, opp>orr.unici
'opf observes,
aonies needed to go to public uses.
s,
don't
"I
:
What more
ob
know
if
clear,
The NEA's
public use than for our youth?"
'ersial
these programs will be safer! But
of fulfilling Congress's
mandate by reaching
tuency's communities." FabeT adds,

~'l people
who have
"When
experienced racism,
and poverty first-hand and have them

challenges the power
ed, it definitely
understanding about
we need
that
^"ds,
how
to
work
to reach kids
summer. Research
in
_c between.3
and 8 p.m.,
Campbell -Zopf. "And we

sts
ic,
k up with
need
at-risk
Want
ia artist?
to partner with
lasting,
in-depth pro-
youth programs
to start your
council and with
r state arts
own
some of
often the perspectives of yo

regular distribution channels won't touch then
for a few grants right now, nut it we
we can leverage mote money from a wider
variety of hinders." As a first step, Faher conducted a national
survey of youth media organisations, compiling data on types of
small organizations
mi-
compete
selves,
constituencies, equipment,
sources. (See resource
list
and programs
available,
and funding
below.)
big player in the field
is
the "Listen Up!" campaign, a
Kellogg Foundation initiative that funds teens to
make PSAs on
subjects of their choosing. Veteran organizations such as Paper
Tiger TV,
Downtown Community TV,
have stepped up to the

makers.
The
NEA
plate,
opening
their doors to youthful
received .360 applications to
Positive Alternatives for
Youth
pilot
NAMA.C
and
P.O.V.,
program
in
its
is,
many
part of the fallout of the culture wars of the late '80s arid
artists
'90s,
cost
during which defense of controversial individual

the
8th
fl.,
New
York,
NEA
and
state
arts
NY
10016; (212) 725 7000;
Video Machete
5732 North Glenwood, Chicago, IL 60660; (773) 506 9970;
www.videomachete.org; [email protected]. For a survey of 40 local projects all over the U.S., contact: MindyfaberiQ hotmail.net
Creative Links: Positive Alternatives for Youth

Terry Liu at the
site,
with
many
NEA;
A huge
web
San Francisco
CA
(202) 682 5690; www.arts.gov.
links
Release Print
Film Arts Foundation, 346 9th
Emphasis on youth media and artists-in-education

early
St.,
www.listenup.org; [email protected]
brand-new
2000 and fund-
ed 156 of them.
feel,
6 East 32nd
agencies dearly.
94.10r, (415) 552 8760.
St.,
2nd
fl.,
The September 2000
issue
wcu
teen media, including incarcerated youth.
Julia Reichert
As
THE INDEPENDENT
37
see truth in this story of
many young
even read the
guys cut to the chase, negotiating with each other story ideas,
two lonely boys on the lam? Would they

Could they read it?
script/
When Radtke,
co -writer M.S. Nieson, and the two young lead
actors entered the rec
room of the Nicholas Youth Center
16 stone -faced young
men and
to face
several dubious counselors, the
stakes were high. For the actors, especially
14-year-old lead
Paddy Connor, the moment was a sobering anchor to character.

In the film
life
we watch Connor's
character, Albert, escape from his
dialog. Discussion began.
was obvious early on that not only had
and absorbed the
As
says,
many
was
shot ideas, specific cuts."
The
had been through
kids
A mag-
men and
boys.
was disconnected and unin-
of these kids,
sat
and stared
at the
But that doesn't mean we
rebellious, too.
math and
wanted to
reach
to
us.
validate
detours in
their
ing.
By
this time,
immersion
Bognar adds, "We valued the

This was
new
ued part of
them
to
their
experience,
emphasis
is
on getting the
Some
supportive than others.
have been a
It
kids after our brief
The
perf,
the grips' rope-tying secrets,
kids
Nagra works, the
make up area, the

being extras. The crew was
and humor.
hoped the
how
kids loved the
would
sense of mission infused
see that there
very long hours, and a variety of jobs on a film
set.
is
teamwork,
We
encour-
aged them to imagine themselves here, and think about what job
they would enjoy. These
visits
were high moments
for all of us.
In post, the kids watched Jim Klein, our editor, click away on the
Avid.
Then he
and some
challenged them to "cut a scene" to their
liking,
make
their
own
short movie, with guidance and
equipment from Steve Bognar, Ed Radtke, and the Ohio Arts

Council. Bognar is a 12-year veteran of working with kids in
schools
through the Ohio Arts Council's
stellar
Arts in
Education program. As Bognar observes, "These young

took the work incredibly
38
to plan
seriously.
THE INDEPENDENT
men
This surprised me, because so
March 2001
own
films
teens. For us,
money
in very small pieces, spread
The program was not

life,
it
difficult
perfect.
Because of the
realities
of juvie
very few of the kids went through the whole program. This
young
and
participants,
it
made an impact on many
when we embarked on
When
town
director
The Dream Catcher was

and actors had
finally
done, kids came down-
meeting with them backstage
the kids sat
among 900
members. Although The Dream Catcher was
and the
kids'
movies were mini-DV,
in the experience of
set out to
Theatre to see "their movie." The
a private
Then
work we'd
this feature film project.
to the beautiful Victoria
just before curtain.
of the
definitely affected us filmmakers, pro-
it
viding a measure of that kind of meaningful

find
made
and schedule.
all
other audience
35mm
blow up
the mediamakers bonded
examining and affirming their
lives
though
the telling of their stories.
A study guide for using The Dream Catcher with adolescents was
written by Eric Johnson, with funding from the Iddings Foundation,.
The guide and a
did.
Certainly the most meaningful activity for the kids was the
opportunity to
out the
out over more than a year,
proved important to communicate
double
vs.
more in-depth
longer,
the fact that the Iddings Foundation doled

Sizing up a shot at the Greene County Treatment Center.
erent film crew suddenly found themselves talking as teachers,
proper mix for film blood.
much
had the most impact on the
were more
work with the
experience, since making their
was unfortunate. Nonetheless,
We
kids.
during the video production phase should
moments of the production process

each group of kids came to our set. A scruffy irrev-
those days.
the
their
Probably the crowning
their interest
to
we learned a lot.
Making the overall program shorter say
four to five months
and less sporadic
would have been better. But working with
Bognar and Radtke as artists-in-residence
encounters were over.
dolly,
message
right
project,
keep their understanding and enthusiasm
buoyed by
and they could be the

most facilities, the
in the course of carrying out this year-long
to kids suf-
staff
up, since they continued to
explaining single-perf
own lives.
The whole world of media artists working with at-risk

and incarcerated youth has mushroomed since 1997 when the
DYFP was launched. We knew of no precedent to our work. And
few times a
whole event was postponed due
were the days
their
Unfortunately we rarely look for messages from them."
scheduled, kids were in
staff directly, to
own stories,
to be learned from,
life,
jump. Sometimes
lock-up or had escaped.
with
kids'
that their mistakes, like Ed's, were a val-
basis of artistic expression." Currier adds, "In
way
offer the kids a
glitches, hurdles to
fering consequences.
edit-
in filmmaking, as they reached the project's video
life."
when an event was
and
production phase. Most groups made short pieces about break-
As production began, the program grew

and the bond between the youth and the
filmmakers deepened. Along the way there
were
writing
they were prepared for their three- to four-day
science, just didn't
own
aspects of filmmaking
all
a storyboard, rehearsing actors, shooting, taking sound,
aren't interested in the world. Traditional
education,
But these
as a shield.
humbled and empowered.
left
"As a teenager
spired. Probably like
walls in school.
writers.
space grew around this group of
The filmmakers were
the kids read
the evening drew on, the
was read aloud by the youth and the
ical expressive
Radtke
all
Comments
but they connected. They offered line
script,
changes, character observations.

entire script
humor and sarcasm
ing the law, screwing up, and facing consequences.
in just such a facility.
Radtke encouraged open

flew. It
people use
VHS
to teachers
and
126 N. Main
St.,
copy of the film are available
youth workers for $20 from: CultureWorks,
Dayton Ohio 45401.

an independent filmmaker for 30
work as producer ofThe Dream Catcher, she and
partner Steve Bogriar are making a feature-length documentary about kids
Julia Reichert [[email protected]] has been

years. In addition to her
fighting cancer.
The room crackles with
stand in front of microphones; a singer, two guitars, and a bass.
Workman, case manager at Madison remembers, "On the one

hand, we were all excited and did everything we could to see this
An
happen and happen
excitement.
Four black teenagers
older guy at a big mixing board says, "Quiet, we're going for
take two, in 3..2..1.."
number
The song tumbles
"Mama, I'm
called
out.
It's
R&B
a slow
room
this
the
windows
The
serving hard time.
setting
and the players are

the Madison Correctional
are barred
is
Here Ohio youth under 18 charged as

adults serve time. Some are as young as 15, serving years for
crimes from aggravated robbery to manslaughter. There are curInstitution in rural Ohio.
and below
rently 79 youth age 17
Through
Education Resource Center (OPERC), filmmaker Ed Radtke led

a small
team of media
young men
artists
who worked
cerned with
with about two dozen
Canode,
used to
tie
viewed
as
Radtke asked about the inmates' wishes, he found a
groundswell of desire to record songs they had written and practiced but never
had the opportunity
Tim
He then conwho he'd met work-
songs sprung from the prison experience.
few minutes
would rock mosh

was free
that
wish
Free to do the things that help
were overwhelmed,
could
now
yes,
component
is
were con-
my
cables, explained,
"A cord could be
weapon.
We
wanted everything
to
situation got out of hand?"
Any image
on
for the okay.
or sound captured
had
paper,
on
film or tape,
to be reviewed by the prison
to create a finished piece but waited
The
fact that
mini
DV and S-VHS gear was
used posed an additional hurdle, since the prison did not have
access to those formats.
Hours of material languished
in a card-
Here are a few things we learned from the experience that can
help others:
Artists should realize they are entering a different culture.
Security
is
paramount concern.
down
should be inventoried
Every piece of equipment

caps,
and adapters
roll
to cables, batteries, lens
before entering and
of film or tape should be labeled and accounted
Use formats that
are assessable or provide necessary gear for
to pre-arranged schedules
In spite of the hurdles, the
an institution
for the first time,
and plan of content.
is
well
work of building
worth
it.
a relationship with
Incarcerated youth deal with
deadening
their recorded
some wept. "They
hours of bore-
but they also immediately realized they
As with
all
media
artists,
dom. Given
that
and
"I
young
men awaken
so
with desire to
proud of the work we did there," says Radtke. "The kids are
never trusted with anything in prison. When we handed them a
that,
a camera,
these
The
am
recorder
tape
the team helped to record inmates' poet-
camera or camcorder, trusted them with
for.
offi-
review your tapes. Usually, everything must be reviewed.
Keep exactly
heart
hours passed quickly and basically without incident.
express.
showed them how
R
it,
those
Prisons are rigid as institutions go.
taught photography and video, recorded interviews.
to use
all
6 -to 8-pound camcorder or a micro-
so important, that ability to share our work."
On other Saturdays
ry,
America.
start.
share their expression.
We
track of
administration. This was frustrating to the media artists and
cials to
pits across
According to Radtke, when the inmates heard
and mixed songs played back
mike
up.
OPERC, who wanted
Every
me
Break away from these chains on
Give myself a brand new
we keep
after
group of
white kids stepped up and recorded "All the Way," a fast punky
could
re-inventoried again leaving.
wrapping "Mama, I'm Sorry," the scene changed.
How
how
the other
was a security nightmare.
to record.
Berger,
on The Dream Catcher, to join him at the prison.

The two were touched by the lyrics and intensity of the songs
and amazed at the quality of the musicians and singers. All the
anthem
it
gang signs or any negativity toward the prison that
ing
teen angst
On
atmosphere.
realized
microphones?"
referring to
someone
or even written
board box.
try.
vinced professional sound mixer
film,
might be recorded.
and agreed
When
because
phone could be used as

work out, but what if the
months
for
officer,
to
theft,
cameras, tapes,
seven weeks. It all started when Radke's old proTim Currier, arranged for Ed and OPERC staff to
show The Dream Catcher to youth at Madison. The ensuing dialog was so intense and positive that OPERC asked Ed how he
could continue. The filmmaker sensed a well of creative energy,
bation
we
Prison officials were concerned with eliminating what they
Madison.
at
arrangement with Ohio Prevention and
special
in a relaxed
got started
it
Ed showed up with so much valuable equipment!
Sorry."
This same scene could take place in any town across America,
except in
hand, once
then sent them off to capture images, their faces
Julia
i
ch ert
showed sheer
joy. They were so focused on the work."

While there were no real tensions between the inmates and
the filmmakers, there were increasing difficulties with the prison

staff.
Restrictions mounted, disagreements flared.
done anything
like this before.
again," said Carol
Media
should be
dom
artists
realistic
artists are
Canode,
who want
And
assistant
to
work
I'm not sure
warden
at
"We had never

we would do
Top: Inmate Stephen
it
sound during a
Madison.
McKinney interviews an older inmate who

has been inside for years.
in correctional institutions
about the institutional perspective. The
used to was impossible
McKinney checks the
shot.
free-
in this setting. Virginia

s
March
THE INDEPENDENT
39
For all the creativity that goes into the writing and production of feature films, there's still a troubling amount of homogeneity that goes into their theatrical release.
We
see the
same
marketing models, the same advertising techniques, the same
So much so that the ways of theatrical disimmutable laws of nature. But then there are
distribution patterns.
seem like
David Riker who come along and prove that
tribution
people
they're
like
who want to target specialized audiences.

The following is an excerpt from a longer discussion about La
ers
Ciudad recorded on September

Archives
by
the
Artists
[www.artistsnetwork.org]
It
was part of
Riker began shaking things up in 1998
when he
directed
La
Anthology Film
at
&
Resist!
their series "Inside the
Culture of Resistance," videotaped interviews with
Here Riker
Latin
the
in
visibility
film's
which
artists
are being edited into programs for future broadcast.
answers a question about the
not.
2000
1,
Network of Refuse
American community.
When La
Ciudad was
released,
[our
dis-
tributor]
Zeitgeist
approached the film
as a fairly
standard arthouse release. Like
we had
every other distributor
spoken with, Zeitgeist strongly

believed
Latino
the
audience
would be small and extremely
opened
the
at
New
Street [in
the very
The
Quad on
reach.
to
difficult
first
film
13th
York City], but
weekend,
clear that the audience
it
was
was not
only arthouse. Latinos were also
coming to see
it.
Immigrant
workers were
coming
it.
to
see
They were
walking around
13th
Street,
asking people, 'Where
lost,
is
the film The Immigrant playing?'
Ciudad,
David Riker directing three flower
vendors
that
in
a scene from La Cuidad
was shot
just steps
about
quartet of stories
immigrant
from the Latino-owned
packed houses.
America's
First,
make
with English
feature-length
Corona, Queens,
in
Plaza Theater, where the film would

later play to
subtitles,
in
life
inner
1SMmaSSTEJ!ra* raw* mrcuuu-
"
UNA EXPEBEENCIA SIN IGUALT
cities.
Riker decided
his film in
WKunEnuaunumiUBRuiK
to
Spanish
causing eyebrows to shoot up.
He
further fueled the arguments of skeptics by choosing to
shoot in black and white.
Then he
put himself on the line
by workshopping the script with Latin American immi-
-BWKtM. Q {few
^*
They had
just
grapevine
there
them;
title.
ame
some
On
heard through the
the
first
from
Sunday that the theater was

turning them away, because
Quad
in virtually every part.
the
when
admitting
stellar reviews.
What's more,
Riker once again proved his ability to think outside of
when
the box
article,
it
came time
to distribute the film. In this
Riker describes his scheme to reach beyond art-
house theaters and attract Latino communities
Queens and Washington Heights
in
New York City.
in
His plan was
ingenious, brazen, and enormously successful, but most significantly,
40
it
THE
can serve
as a
reproduceable model for other filmmak-
DEPENDENT
March 2001
as
Long Island.
They were coming with their
babies. And I learned on
skeptics' predictions fizzled
and
away
of Connecticut,
and casting these nonactors
prize after prize
far
as
But
up
even know the

weekend, people
Philadelphia, Jersey City, parts
grants
the film picked
was a film about
didn't
has a policy of not
children
under
By Monday, the numbers had been so good the
five.
owner of the theater agreed

to waive the policy, and the
film, instead of playing two
or three weeks, played there
almost three months.
reason
is
because
The
the
Latinos were coming in addition to the Quad's regular arthouse
the peg to be there, for the
audience.
had
When
the film finished
open
for permission to
it
run
its
at the
Quad,
up in theaters in the
borhoods. Zeitgeist agreed, since there was no
we negotiated
a separate deal to allow
me
asked Zeitgeist
city's
Latino neigh-
risk to
them, and
to re -release the film
in a Latino market.
But
I
didn't
knew, because
it
was
to distribute a film. All
in the Latino press so
much
as a
kind of
accomplishment of the community, was that there was
historic
an audience
that the
aters
for
it.
And
time, in front of the cameras.
first
The theaters were packed. Teachers had something to do.

They could afford it. The kids went home and told their parents.
So on the weekends, the theaters were packed. Cipriano Garcia,
and half a dozen of the other actors were there every day, every
handing out leaflets, talking to the audiences. We would
night,
raid the theaters
we'd go up on the
stage, the six of us, before
the film began. There'd be hundreds of Latin
knew
main chain of Latino thehad

previously
asked
The
fact that the actors
heard about on
they'd
TV
week of its release, but Zeitgeist

had declined, saying that there
was a risk they would never be
"*
were on the stage
made
tv
And we would hand

out thousands of leaflets,
So
went
asked
and
which they would take
interested,
out. Also, because there
to these theaters
they were
if
and they
still
said they were.
said,
was
know how to do this, but

know I need money for ads. Will
don't
free" policy,
>
theater owners
these
$2,500 each
something which,
number one
station
theaters,"is unheard of.

That they'd give you
before
even got the
me
gave
cash;
six
They
I
had
ads
and
leaflets
and
make
for
$2,500
So every week we were

beating
first
the
time
films.
coming
would take
else
never
to let people
is
the
paying.
theaters
have
it's
film
I
and
done,
lenge.
said,
"I
idea;
money. Let everyone come in
for free
schools.
Open up
it?
And
can use that
So why not
let
the
would
at the theaters
they were offered an alternative that had some kind o( meaning
to get things rolling."
that the only reason
to them, they
for
almost
New
up
like that
Washington Heights, with all the community leaders and

politicians
and the theater owners, who had borrowed suits ntl
went
to
it.
We
outlived Tigger Movie, PLi\
Bone, and about five or six other
who saw it as a worthwhile cause to agree to do a big press

conference. And there we were, in front of one of these theaters
cians
it
comes
They were looking at each other like it's absurd, but somehow
convinced them to do it. Then I got some of the Latino politi-
in
then
commu-
the theaters. To begin with, no one
into your theaters until the evening.

nity see
we
as a chal-
empty room. It showed

Hollywood dominates is because we let
them dominate. They have a system; it works for them. Bui it's
not because that's what people want to see. The minute that
from Monday morn-
ing until Friday at 5 p.m., as long as they're school groups in public
it
would be La Ciudad and

packed, and Screen 2
would be screening to an
going to make you a
lot of
And
Screen
to the
brilliant
and
out,
is
happen: Saturday night,
without
went
Because
would see Scream 2
to ask the theaters to
they've
For the
began reading
trades!
do
which
new
the
Hollywood
make a third print.

Then I had an idea
something
It
$200,000.
could buy a
day for
seven weeks.
or
would have cost about
7,500 bucks. With that
knew
Latin
the
for
the
is
television
five or six times a
they
film.
could go to
American community,
and get them to put a
free PSA on. They ran it
if
you've ever dealt with
money
Univision, which
And
gave me
go
"children
this
you advance me money?.
see
mov-
really very
it
ing.
paid.
few
American immi-
grants and their families.
Zeitgeist for the film in the first
We
which was, "The doors are open." Every school age
child could see this for free.
I,
know anything about how
a slogan,
five
months
in
Now
films.
So
in total
it
to the
the film played
York City.
[This model tor the theatrical release] wasn't used outside of

York, and I'm very upset about
community
it.
Not
to see the film in their
March 2001
just
because
would
neighborhoods, but
THE INDEPENDENT
41
because the revenue from the film would

PRODUCTION
POST PRODUCTION
DUPLICATION
have reached
F^RO^RAM
justify
The
145
WEST 20TH STREET
TEL: 212-242-0444
NY
N.Y.,
We
OO1
FAX: 212-242-4419
broadcast
15 min.
$800
60 min. -$1750
30 min.
$1200
90 min.
$2000
video
services
at
Media 100 Editing

Production Packages
same argument and the

going to
say, 'let's try
but because
$1 20/hr.
$ 85/hr.
Video Duplication
$ 85/hr.
$ 85/hr.
&
Info.
PO
20 VHS Tapes
Tel:
w/sleeves & labels

Independents
Only
Box 184 NY,
NY
10012-0004
212.219.0951
Fax: 212.219.0563
www.standby.org
distributor
is
didn't get to
It
model
didn't reproduce the
The model was
Post
it.'
that point.
$1 75/hr
Digital Audio
which
point any other filmmaker could use the
[We
Animation Stand
it
have broken a magical
like a million dollars, at
where] not because

Film to Tape Transfer
which
other people doing the same thing.
film could
number,
discount rates.
one disc
-
quality
post-production

&
and
artists
to
provide
a critical point, at
could have been used as an example to
else-
couldn't be done,
it
personally couldn't do
it.
so sound. For example,
for those six weeks in Queens and

Washington Heights, the film earned a
quarter of
the income
all
year of playing in 60
it
cities.
made
It's
in a
clear
if
someone had taken the same model it

was really a blueprint, going for the
schools, getting them in for free; there
was a precedent set that Univision would
offer free ads
the same could be repeated in at least eight to 10 cities where
there's a very large Latin American population. I offered the model and the blue-
print to the distributor, but
pened.
And
me
for
year,
to other
But before Riker could
Editor's note:
he threw him-
to his next film,
one
self into
never hap-
and I've been trying to

work for a long time.
another
move on
move on
it
would have been
it
final
surrounding the
marketing
PBS
effort
that
broadcast of La
Ciudad on September 22, 2000. ITVS,
which helped fund the
film, hired
full-
time activist for six months to travel
around the country and show La Ciudad

to
community organizations and immi-
grant rights groups, and
it
printed 50,000
discussion guides in English and Spanish.
Such
grassroots
rarely
found when
films,
outreach efforts are

it
comes
to fiction
whether they're on television or in
theaters.
On
both counts, La Ciudad
broke the mold. Hopefully, other film-
makers
We're a one stop
digital
video house
will
La Ciudad
(for

118 West 22nd Street MYC OOI
1
212.243-8800
42
THE INDEPENDENT
March 2001
fax
691-6961
grit,
tenacity,
and
to follow in Riker's foot-
steps.
Films (for
&
have the
commitment
is
available through Zeitgeist
35mm) and New
video)
Yorker Films
ivww.zeitgesitfilm.com
and
www. newyorkerfilms com

.
David Riker [[email protected]]
is
New
York-
based independent filmmaker.
www.aivf.org
.J-'
1
XZZ
;;; '
MB
53OT*7Vr
m^=i
we
MediaRights.org
by Lissa Gibbs
Some
team
MediaRights.org, 104 W. 14th
at the
New
St.,
#4,
York,
thus the beginnings
we
independent mediamakers and people working
for
is
NY 10011;
change
in
are
the field
natural
Nonprofits and filmmakers already do collaborate
www.mediarights.org;
we
on occasion and
contacts: Julia Pimsleur, co-founder and
Betancourt,
more
often
make
it
if
think they would collaborate
We want
given the opportunity.
Latimer.
easy for these parties
each
to find
use the films that already

is
MediaRights.org
designed to
a nonprofit
is
community web
site
er.
social-issue documentaries and
advocacy videos easy
to find.
We
are helping
filmmakers
com-
the perfect place to
is
kind
and professional
site
work with community
to
and
exist,
community that
of
crosses geographic, age, gender, race,
campaigns and encouraging
how
to learn
The Internet
create this
munity organizers integrate social-issue documentaries into their action
other,
create media for social change togeth-
MediaRights.org?
make
to
president; Katy Chevigny, co-founder.
David
exactly
allies.
[email protected];
Julia
Nicole
What
of
rights organizers.
that
social
Pimsleur,
MoHiaRights
The name comes from the meeting
site.
(646) 230-6288; fax: 230-6328;
Jenny
Baum,
expressed a
The reason we started MediaRights

believe
IFP market:
(l-r)
web
mediamakers and [human]
of the
mediarights
all
keep up with each other's work and stay
to
informed about new projects

of a
We
could work better together.
need
ers,
We
lines.
organize our
around the issues that mediamak-
and educators are
activists
all
passionate about, including racial jus-
organizers.
tice,
economic
women's
justice,
rights,
Driving philosophy behind MediaRights.org:
and health issues.
We want
and
to build a bridge
between mediamakers
activists working on social
issues
in
the U.S
in
Where does the money come from
and environmental
Our main funders
both of their work.
Foundation
Who
is
MediaRights
to
fund MediaRights' activities?
order to increase the impact of
date are the Ford
to
and
Open
the
Society
?
Institute.
We
are currently approaching
Jenny Baum, associate creative director; Nicole

other foundations and also building
in
Betancourt, creative director; Katy Chevigny, finan-
revenue streams
cial
manager; David Latimer, director
of
Julia Pimsleur,
is
to be self-sustaining by
2005.
co-founder and presMediaRights.org
ident;
Our
business
goal
development;
to the site itself.
and Marc Antony Vose, technical
project of Arts
lead.
Engine.
How, when, and why did MediaRights
is
come
Inc.. a
nonprofit 501(c)3.
into
If
went
MediaRights
to
being?
site,
I
[Julie
what would
find?
Pimsleur] have been a producer of social-
MediaRights features
issue documentaries for several years with
my comdatabase
of
1.200
over
pany Big Mouth Productions (co-founded with my

social
business partner and old friend, Katy Chevigny).
Some
Guilty,
all
of
our films include Innocent Until Proven
Nuyorican Dream, and Brother Born
films for which
campaigns.
Again
we planned and executed outreach
had always been frustrated with the
lack of resources at a filmmaker's disposal for doing
educational outreach, which

of
any documentary
consider a crucial part
distribution plan.
The idea
MediaRights.org
came
to
me
after a
brainstorming
meeting at the
Foundation
1998.
in
up the production
when our program
of
was
Ford
14
finishing
Innocent Until Proven Guilty
me
to a
meeting with a group
15 activists and mediamakers
to talk
issue
about how
nonprofits
in
filmmakers
social
around
issues
of
and a
over 600,000
the U.S. There are also resources for
(funding
etc.), original articles

al
documen-
organized
database
officer at the Ford Foundation,
Alan Jenkins, invited

of
taries
sources,
production
tips,
about successful education-
outreach campaigns, and other examples of how
for
March 2001
THE INDEPENDENT
43
DISTRIBUTOR
media can be used
to
member,
register as a
make
list
a difference. You can
your
film,
and add your-
database
self to the activist/nonprofit
review films
in
our database.
We
are
in
include:
On
Some
TV, a television
of the
you want
if
the process
ister
new features
will
for
young
going on at MediaRights.org
is
member
as a
member
Being a
and then you
free)
(it's
to reg-
is
will
newsletter every few weeks.
receive our e-mail
also gives you the ability to cus-
tomize the newsletter (and eventually the whole

your particular interests.
site) to
whoever
or distributor,
educational
have
web
useful
we
We
for films or
nonprofit organizations and see our current
and
feature 14 main issues around
home
page, helping to give the film more exposure and an

dis-
and exhibition?
are acting as an outlet for distributors
we
Our
makes
site
who use
easier for people
it
are
media
to find useful films
ier for
people
and
also
it
makes
chasers
to find the films of
distributors
who
don't traditionally use media to
over 20 educational
one place. Users
in
because they browse the
collection by
buy or
of our site
videotapes
media on
from the distributors.
directly
the
when enough people have access
Eventually,
providing easy access
movement might come
rights
civil
20 educational
to our site
to
on the
looking for a well-known series like Eyes
greater bandwidth,
we
stream
will
and per-
trailers
Prize and might find three other films
film purchasers to
eas-
it
providing easy access for documentary film pur-
rent
find the films of over
one
highlight at least
issue. For example, a teacher looking for
documentary
films
their
per month from our database on our
find films,
for
we
feature
have
can
extra push.
From the home page you can search
"We are
link
selling the video to the
is
reviewed by users. And
We
the filmmaker
site of
Another
market.
that filmmakers
is
film
and the Media That

tribution
We
great exposure
directly to the e-mail or
the site organized?
past articles.
community leaders
powerful
It's
what
On the web, what's the difference between
is
available to
with
Matters Online Film Festival.
How
made
across the country.
or
schedule of social-issue
activists;
environment, racial justice, immigra-
your film to be used for social change.
documentaries on cable; a Youth Center
mediamakers and
econom-
organized, which include
site is
justice, the
and health. One way you can easily keep up
media-
doing a major redesign right now [due for com-
pletion by February],
ic
tion,
or the
makers database. You can also post messages
of
which our
haps make
possible for people to download an
it
We
entire film.
same
the
in
category. They might buy
two films from two
ent distributors and one
made
differ-
are waiting for streaming video to
by a filmmaker
who
be as easy and reliable as reading information and
distributors in
We even
hasn't yet found a distributor.
one place."
still
earn a
We have
living.
been watching the music industry and the Napster

debate very
same
the
closely, since
issues
in
we
will
ing forays into streaming media,
which we
film festival
will
We
Human
are
of
mak-
Describe the type of media works listed on

MediaRights:
We have
written articles about the educational out-
reach campaigns for such documentaries as A
June: The
Force More Powerful; The Farm: Angola, USA; and
Festival, co-pre-
Legacy. Our database includes over 1,200 social-
in
Watch
Rights
many
in-progress.
such as our online
premiere
Media that Matters Online Film

sented with the
be facing
the film industry.
works-
how people
also for working business models of
can exhibit online and
list
International
Film Festival and powered by Reelplay.com.
we expect
issue documentaries, and

four months.
it
to
double
in
"YM" symbol which
are adding a
youth-produced work, because there
identify
will
We
MediaRights
What's the difference between
are a
young people making videos and not
lot of
and a traditional distributor?
we
Just to clarify,
are not a distributor.
many ways
We
them
for
to distribute their work.
other thing that sets us apart
working with educational distributors
an
to provide
gating advocacy videos

Internet outlet for their collections
and
The
are
for individ-
that
is
we
are aggre-
short films that are used
by nonprofits to get their points across. Though

ual filmmakers.
Over 20 educational distributors

there are thousands of these videos
have given us
their catalogue listings,
there
now included
out there,
which are
is
no
way
to find
them on
or offline, except on
our database, and numerous film-
in
MediaRights.org.
makers have submitted

addition to
traditional
and
We
easily available to
How
documentary buyers, such as teachers
site?
making films more
librarians,
will
their films directly to us. In
we
are approaching
shops about using media
for social
upcoming months. We are also

sites,
new markets.
be attending conferences and doing work-
especially
community
our database on their site to
change
in
talking to other
sites,
make
the
web
about putting
our films avail-
able to their users.
his/her work listed
By
listing
on MediaRights?
the decision
Anyone who wants
made
add
to
must be
it
to
We
How many
which films
"hits"
fit
into
character
courts
44
THE INDEPENDENT
March 2001
in
in
is
I'm a Collector, pictured with filmmaker
Jimmy Marks celebrates a victory

Jasmine DeUaYs American Gypsy.
and
list all
or
We work
daily
on
MediaRights?
your film with MediaRights, your work
Top to Bottom: MediaRights's home page; Larry Selman,
Alice Elliot;
click
our categories.
recorded
are
We
don't
have
lot
of
traffic
at
because we are new (we launched
title
and
site
part of their collection with MediaRights.

to find
The only
verify the information
our database. Distributors can
them
the
a social-issue doc-
umentary. Filmmakers can go to the

on "List Your Film."
add
titles to
to list his/her film can.
criteria is that the film
with
What's appealing to a filmmaker about having
is
in
and are just at the beginning

campaign. Word
Federal
rent users
is
of
the
moment
in July
2000)
our public relations
getting out, though, via our cur-
and our partners. Our users and
mem-
double
bers
We
monthly.
web
established
partnered
such
sites
more
with
Human
as
Rights
Watch, Witness, and the Benton Foundation, who

help to drive traffic to our site.
How do people
We work
find out
about MediaRights.org?
very closely with our partners, which are
like-minded organizations such as AIVF, ITVS, and
as well as the ones mentioned
Paper Tiger
TV,
above. They
link to
this coalition
we
us
people and create collaborative

also
many
with
listed
and through
off their sites
are able to reach over 30,000,000
online
We
initiatives.
are
directories/search
engines.
The most important issue facing MediaRights

today
is.
ways
Finding
that
we can support
we
the future
We
be self-sustaining.
to
want
for our foundation support, but
are grateful
to
make sure
own operating costs so
our
in
don't have to rely on funding.
now MediaRights
Five years from
will.
be the best place to find social issue documentaries.
We
also be streaming films
will
in
our online
helping filmmakers to plan and execute
theater,
their outreach
campaigns, and enabling nonprofits
to easily find films or
make new
films about specif-
social issues.
ic
The Internet has a huge potential for changing

the
way
about everything
just
distributed.
is
Do
you think an electronic nonprofit such as
Begin here to make your movie:
MediaRights represents the future model of
media advocacy
I
think the
web
in this
country?
a great resource for aggregating
is
4te
information, but
reach. MediaRights.org
to find
each other
doesn't replace traditional out-
it
makes
it
easily, but they
still
need
"From
UK
possible for people

to cre-
l|
start to finish, Dr.
Rawstock's
needed."
services were everything
relationships
ate
"off
line"
or
face-to-face.
Brett
MediaRights
its
will
be building more tools for nonprof-
and filmmakers
to
use right
filmmakers and activists

their sleeves
will
off
the
web
always have
roll
site, like
a traditional distributor,
good as the people running
it.
am
Final Cul Pro
Classes
very fortunate to
The #1 choice
to help independent filmmakers realize their dreams:
staff,
are not only great people but have years of
experience and really believe
Distributor
FAQ
profiles a
in
Lissa Gibbs, c/o The Independent,

York,
NY 10013;
what we are
wide range
independent film and video. Send
New
Web
only as
is
have an extremely talented and committed
who
WOOD JR.
up
and make those personal connections.
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Any web
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but
site,
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Jj
link.net
II
Lissa Gibbs
is
Call us
a contributing editor to The Independent
and former Film
Arts Foundation Fest director.
AIVF
is
one of MediaRights.org's partner organizations.
@ 800.323.4647
www.DRRAWSTOCK.com
The place
for your movie.
6150 Santa Monica
Blvd.
March 2001
Hollywood
CA 90038
THE INDEPENDENT
45
Film Arts Foundation
by
Michelle Coe
Materials and Access awards from $1,500 (per
Film Arts Foundation, 346 Ninth
St.,
grant) to
FAF grants
2nd
associate
fl.,
San Francisco, CA 94103;
(415) 552-8760; fax: 552-0882;
Adrianna
Rosas-Walsh
(r)
one feature film-
raise from outside funders.
contact: Adriana Rosas-Walsh, grants
Khouri, the 1999
STAND
to
amounts depend on our earnings and what we
www.filmarts.org
Amahl
with
$48,000 (awarded
maker as the Eickman Award). Cash awards
How many
associate/sponsorship
recipient.
applications do you get on average
per year?
We
What
NEA
Film Arts Foundation?
is
FAF supports the creation, exhibition and distribuindependent film and video, by providing
tion of
resources, education, and exhibition opportunities.
Regional Fellowships Program. At the time, the
NEA western
was
region
13 states and territories,
many
too big an area with too
gifted artists
and
receive an average of 350, with
What are the
come
50%
in
1976 by a handful
of
who
a void
felt
and
filled
it
video,
in film,
spans
services 3,400
and multimedia. FAF's membership
Award-winning
Release
Our
filmmakers.
Print, is the link to all our
Who makes up
was
most
is
12
full
magazine,
How has
staff
all
Other small funds now exist and after a

battle, the
Independent Television
time with five part-time positions
when needed throughout
of the staff are film-
came
have the tools they need
being to fund
documentaries and narratives.
and videomakers.
is
to create, exhibit,
and
and that independent
dis-
film
is
seen within the society at large as an important

cultural
into
the year.
independent film- and videomakers should
and
its
the foundation?
tribute their projects,
artistic
initiated
grant program?
members.
The driving philosophy behind FAF

That
media
independent
changed since the FAF
television
Over half
of the
Obviously
the funding climate for non-
Service (ITVS)
and extra
artists.
not enough!
commercial
12 year
Staff
West Coast
members working
broad range from students to Academy
to
by creating an orgathis
now
nization that
geography, medium)?
of the applications
filmmak-
awards
ers
(e.g., ethnicity,
into being?
annually, which constituted
FAF was founded
the
restrictions on applicants' qualifi-
producers. Northern California (along with the AFI)
provided at least
did FAF
in
gories.
cations
When and why
most
Personal Works and Completion/Distribution cate-
contribution that should
be
ITVS brought more
money
media
at
for
and
TV,
smaller funders
and decided
time,
saw media being funded
Many
resources
FAF
of the projects
development end
in
funding
same
to re-direct their
to other issues.
funds
into
the
up
getting
completion funding from ITVS.
supported and embraced.
What percentage
What distinguishes FAF from other media
arts
video projects?
organizations?
FAF offers education and

exhibition.
In
of the FAF's overall
budget goes towards individual film or
training,
funding and
time of shrinking resources,
we
All
proceeds
which
are
from
strictly in
is
separate
Endowment
rently reside,
continue to offer low cost access to production and
postproduction equipment (super
and
digital)
16mm,
8,
video,
and present workshops and seminars
The Endowment fund
for
indie
and have resided
media provided
prior to the deadline, in the
about $35,000 of the $68,000 we granted
The Endowment principle now
totals
in
2000.
$600,000.
on high-end and low-end technology (film hand-
How many awards
are given out per year for
each grant? What
is
who
Grants are awarded only to individuals
existence to fund FAF grants.
San Francisco,
for at least
10 Bay Area counties:
Sonoma,
Marin,
cur-
one year
Napa,
Solano,
Alameda, Contra Costa, San Mateo, Santa Clara,

and Santa Cruz.
processing, traditional animation, optical printing).

In
San Francisco, FAF
is
seen as the
the total dollar
amount
institution that
awarded annually?
makes
We
things happen.
In
When and why
did you decide to act as a
un-
der?
we gave
2000,
cash awards valued at
16
$68,500 and 12 awards

valued
at
What types
in
over $52,000.
materials and access
Established as a postproduction center and a fiscal
$2,500;
Completion/Distribution:
amount
varies annually based on
funding seemed the next logical step.
earn and raise from other sources.
when
the program
was
initiated, the
NEA was
videomakers
$8,000.)
i.e.,
among
the most
experimental or
personal shorts.
Your Cash Awards program funds projects at

various stages of production. Can individuals
sizes of these grants?
Cash awards can range from $2,500
March 2001
categories that are
The
providing grants to individuals and supporting the
THE INDEPENDENT
in
areas to raise funds:
how much we
still
What are the average
46
form, projects that "push
(Development grants:
sponsor, FAF grew over time, adding services, and
1984,
does FAF seek?
in
the envelope." Our awards are targeted for film and
difficult
In
of projects
look for innovations
to
$10,000:
funded
in
the development stage
you for distribution funds?
come back
to
Yes,
we encourage
returns
this sort ot thing.
When
completion/distribution
for
already have a stake
in
seeing
it
a project
we
funds
through to com-
to
production and postproduction equipment, 25
hours of project mentoring by a professional filmmaker, and exhibition of completed works
with
no actual cash given.
pletion.
award recipient decided?

The Phelan
Art
Awards
Film
in
ship given every other year
achievement and
artistic
is
an
artist fellow-
recognition of high
in
creativity
What types
of projects
does the Personal Works
In
current
of
the Blazing Paradigm Award, one recipient

residency) with an established body of work
in film
gets use of a Final Cut Pro system to finish their
grant fund?
(not video)
Priority is
One
film.
in
California-born filmmaker (regardless
given to artistic concepts that challenge
awarded $7,500. These filmmakers
is
project of 30 minutes or less, and development
submit work themselves; they are not nom-
and expand the film/video
art form. Also, the pro-
Bay Area Video Coalition does the
inated.
must begin and be completed
ject
within
the
same
($4,000) grant amount.
award. A panel
for the Video
working
in exhibition,
of jurors
funding, and film crit-
ics/scholars selects the recipient.
Name some
best-known
the
of
titles
and/or artists you have funded.

awards: James Brougton, Yvonne
Phelan
Rainer, Arthur Dong, Craig Baldwin, Curtis
Marv
Choy,
Newland,
Steven
Okazaki,
Michael Wallin, Pat O'Neill, Chick Strand,
and Kenneth Anger.

FAF Grants: Chuck Hudina {Black Heat),
Susana
IVlunoz
and Lourdes
de
los
(Songs for the Living),
(The
st
Marlon
Hammer
Riggs
(Tongues
Doug Wolens
and Chip Lord (Awakening from the
Century).
have one deadline for
You
Camino
(X-Rays), Jay Rosenblatt
Smell of Burning Ants),
(Butterfly),
21
(El
Rob Epstein and Peter Adair
Zapatos),
Untied), Barbara
Madres
(Las
Portillo
de Plaza de Mayo), Deborah Brubaker
your grants.
all
Explain your funding cycle and deadlines.

grants (except for Phelan) are awarded annually in
an
June with the
April
call for entries in
February and
deadline. Recipients are required to
file
progress and final reports upon completion of the

project,
and a copy
of the
work
for FAF's archives.
Once the applicant receives funding, are there

and production
tional
pieces.
How
an
did
of
ad
two promo-
agency get
involved with your to efforts to fund less con-
How do
time frame restrictions within which the funds
must be used? How soon can the individual

apply for funds again?
ventional projects?
STAND
Blazing Paradigm wanted to connect with the Bay
year after funding, and can only use the award
recipients
must complete
their projects a
the completion/distribution grants dif-
fer?
Area indie community
The Completion/Distribution grant awards the
opment
amount needed
ject
to
them
no more, no
some way, and
director at the time
our devel-
worked closely with
towards materials/access at
receives funding
FAF.
If
an individual
any category, they can apply
in
for
complete or distribute the proless. Generally,
to create a
program that would best
suit both
funding the year after next;
i.e.,
2000
recipients are
these awards go
parties.
to
in
final
The corporate world
is
always looking
for
re-eligible in
2002. Completion/Distribution grants
more established filmmakers.
new
How
long have you offered STAND, and what was
talent,
as well as creative ways to give back
to
the community.
the motivation to establish this program?
Because we always received grant applications
fund
Access
for
skills?"
New
STAND
Directors)
to assist individuals
(Support, Training
was established
in
who see themselves
project. Personal
money must be
for the project
and
strictly fiction
all its
solely
phases
used
to
Works
proposed
of production.
features?
Who
are the Program Officers?
have a completed screenplay and be at least 72
Gail
Silva,
minutes
Development
Yes.
them get
complete or distribute the
Does the Robin Eickman Feature Film Award
from first-timers, we thought, "How can we best

help
must make up the remaining money needed
The only other requirements are that a project
&
Executive
Director,
Alicia
Schmidt.
1996
in
length. Priority
is
given to projects with
Director,
and Adnana Rosas-Walsh,
as an
financing for the balance of production funds
in
Grants Coordinator.
under-represented community and have no prior

place.
production
$1,500
in
in
their
services
name. The award's value
Who makes
is
including training and access
What are the Phelan
Art
Awards? How
is
this
the awards decisions?
Grants panels mainly consist of past recipients and
March 2001
THE INDEPENDENT
47
programmers: Bruce Conner, Louise

Minh-ha,
Ll
i_
L L
V J
>
New Version^
Tfl
~
#
'
!>
J!
_ft.
Leimbacher
Irina
Cinematheque),
Moore
Cornelius
T.
Francisco
(California
Gustavo Vazquez, Nick Katsapetses,
Newsreel),
and
Lo, Trinh
(San
Ellen Bruno.
Phelan panel (exhibitors/critics): Peter Scarlet

(SF
t^zBB?.
Film Festival), Jennifer Morris (SF
Int'l
Int'l
Lesbian and Gay Film Festival), Linda Blackaby (SF

Int'l
Asian American Film Festival), and
Rich (film
B.
Ruby
critic).
J^C^**.
&n
Tell
i*Pi
us about the review process.
The written applications are given
FilrnLogic
son panel within days
Two
weeks
three
to
who then submit sample
The recipients are selected from both the
reels.
written application
Tracks
all
teal
Poinl
int
Systems
inc.
www.filmlogic.com
FilrnLogic
16mm
optical
is
lists,
pull
lists,
dupe
designed for filmmakers
who
lists
and more
are shooting
35mm
and want to edit electronically while finishing on

film. Not another editing program, FilrnLogic is an application
which works with popular digital non-linear video editing systems.
or
film
Call Focal Point
Systems,
Inc. in the
reel.
for
media
artists in
on-line database
its
Be
lists,
and sample
putting forth a strong application?
the elements of the finished film in
Outputs negative cut
the panel meets and
later,
selects semi-finalists,
Supports Avid, Premiere, Final Cut Pro, Media 100 and EditDV
to the five-per-
of the application deadline.
USA
toll-free at
877-209-7458
on
and stay simple. Be sure
clear, consistent,
to
be
about the budget-feasibility. Stay focused
realistic
why you need
the funding, and be sincere about
your need.
What
the most
is
common
mistake applicants
make?
Not following guidelines. Applicants must be sure
that they read every section of an application. You
may
hurt your chances because of a simple error
that could have been avoided.
double
even
before sending
11 Call lor Entries
triple
it
about the FAF and/or
its
to
one night by a group
life
and documentary filmmakers,
beer. Twenty-five years later,
still
members.
Forms (Due 4/1/01)

c/o P.O. Box 13243
Hauppauge, NY 11788
1-800-762-4769 (631) 853-4800
or visit our website at www.Iifilm.org
in
most
of
them are
Other foundations or grantmaking organizations you
admire and why.
Pioneer Fund for their encouragement of
documentary
emerging
Foundation
3rd-6th, 2001
of
room over wine
living
and
Pacific
May
to learn
founders?
someone's San Francisco
application
avant-garde
18th Annual fill/Video Festival
your
out to a funder.
That FAF was brought
ISLAND
FILWl FESTIVAL
Remember, always
check
for
their
filmmakers;
artist
Robeson Fund/Funding Exchange

social
and
Jerome
fellowships;
change media and funding
for
for
Paul
supporting
development
distribution.
What distinguishes the FAF from other funders?

For funding personal works; putting past recipients
on the panels; funding both emerging and established makers.
Famous
FAF
is
last
one
words:
of the
few places where individuals can
receive funding.
Michelle Coe
48
THE INDEPENDENT
March 2001
is
program director at AIVF.
production companies). Films must have been complet-
Scott Castle
by
ed by Jan.
listings do not constitute an endorsement,
that you contact the festival
we recommend
35mm.
$35
N.

deadline: 1st of the
month two months prior
to cover date (april
for june issue). include
1999. Formats: Beta SR
1,
Preview on VHS. Entry fees:
(short);
Formosa Ave. Pickford
CA 90046;
Bldg.
Antonio, TX 78230; tel/fax: (512) 457-8780;
(feature),
HOLLYWOOD FILM
FESTIVAL, Aug. 2-6, CA. Deadline:
March 31. 5th annual
fest seeks to bridge the
emerging filmmakers
&
gap between
Rm. 203, West Hollywood,
850-2929;
(323)
$50
early,
#611, San
voicemail: (210) 885-5888; www.safilm.com
$75. Contact: DWF, 1041
late entries are
all
16mm,
digital,
established Hollywood. Cats: fea-
850-2928; info@
fax:
Awards: up to $100,000
ture, doc, short, animation.
in
danceswithfilms.com; www.DancesWithFilms.com
postproduction services. Winners get access to buyers,
DA VINCI FILM AND VIDEO FESTIVAL,
Deadline: March 20 (early); April 20
ing for original
[email protected]
(docs can only be a
Domestic
video,
are welcome:
style
Fest
works not exceeding 30 min.
max
animation,
etc
foreign,
three
in
is
any
of
music
doc,
narrative,
look-
length
in
60 min.). Submissions
of
OR
July 12-21,
(final).
main categories: kinder-
&
cash
passes.
VIP
16mm, 35mm,
Formats:
video.
Preview on VHS. Entry fee: $50. Contact: HFF, Carlos de
Camden
Abreu, 433 N.
Ste.
Dr.,
90210; (310) 288-1882;
600, Beverly
CA
Hills,
475-0193; awards@holly
fax:
woodawards.com; www.hollywoodfestival.com
HOT SPRINGS DOCUMENTARY FILM FESTIVAL,
Oct.
garten-high school, college, and independent. Awards:
chicago underground film

ment
Formats: film, video,
promote films & videos that innovate
to
form, technique, or content
cash prizes awarded
that chal-
following categories; narrative
in
cat.
$15
only). Entry fees: college/indie
$5
(early),
$15
$25
(early),
35mm, 16mm,
Formats:
$35
(early);
(final).
Chicago,
Ave.,
super
Chicago."
in
3109 North Western
Contact: CUFF,
60618; (773) 327-3456;
IL
$20
8, video. Entry fees:
327-
fax:
FEST, Aug. 8-12, CO. Deadlines:
March 16 (animation, experimental, drama, doc & comedy);
30
April
seeks to nurture a growing community interest

a
form
sion
of art
&
&
in
film as
entertainment through exhibition, discus-
education.
films
All
must be under 40
min.,
except docs (under 60 min.). Awards: Gold winners
in
the five regular cats receive $350; Silver winners, $250;
student awards, $200 (Gold)
35mm,
Beta,
16mm,
& $100
Formats:
(Silver).
VHS (NTSC).
3/4", 1/2". Preview on
More than 70 films are screened, including the current
745-6651;
(541)
davincifilm@buz-
754-7590;
fax:
gories. Special guest scholars,
DENVER INTERNATIONAL EXPERIMENTAL FILM FESTIexperimental works of
anytime
in
Xavier
CO 80212;
Denver,
St.,
DOCSIDE FILM FESTIVAL,

15
March 31
(early);
and
Doc, Jury Award

to
redefine
digital
sense
to create a
site).
the
March
organized by the
in
documen-
& Audience Award.
Foreign entries need
digital.
35mm, 16mm,
Preview on VHS. Entry fees: $20
(early);
$30
Contact: DFF, Documentary Film Project, attm
317 Lexington,
Ste.
Antonio,
[email protected];
532-4901;
(210)
#363, San
your film
in
is
you
35mm, 16mm,
30th yr of
int'l
&
video
high school grades 9-12 or college freshman entering a
profile
venue
film
not selected by the
will still
get a slot on
the video library. Cats: 15 categories (see
Formats:
April 5.
competition open to any student currently enrolled
formats a higher
If
FESTIVAL, May 12, CO. Deadline:
term
of motivation within a close-knit
community.
DOMINIQUE DUNNE YOUNG FILMMAKERS VIDEO/FILM
corrupted
super
8, digital video.
Preview on VHS. Entry fees: $15 (15 sec-3 min.); $20 (315 min.) $30 (15-30 min.); $40 (30-60 min.) $50 (over
film
in
produced w/in past 12 mos. Entries must be sole
work
student filmmaker or filmmakers,
of
content.
Awards
dramatic/narrative
in
experimental (3-12 min.)
mated. Awards (one per
w/ 2/3
(8-24
original
min.),
& stop-action/computer
cat;
total):
1st,
ani-
$100; 2nd,
HSDFF Melanie Masino, HSDFI, Box 6450, Hot
min.). Contact:
Atlanta Village,
543-B Stokeswood
DIFF,
GA 30316;
Ave.,
East
(early); April
stars.
No
27
(final).
15 (films); June
annual competitive
fest,
June, CA. Deadlines:
March 30
Fest promises "No politics.
All
&
films admitted for screening
are selected using only one major
criterion-,
have been completed w/out any known

producers, or monies from
No
event featuring a
line-up of a dozen feature-length narrative films
dozen narrative shorts.
they
must
director, actors,
known sources
&
3-6, June
Aug.,
(screenplays). 18th
&
screened over 50 features
shorts last year, selected from entries submitted from
entertainment, doc
&
education, and student. Awards: 1st prizes presented
in
around the world. Cats: arts
all
&
cats (film
35mm, 16mm,
fees:
to
&
w/ cash awards TBA. Formats:
video),
3/4", 1/2", DVD. Preview on VHS. Entry
$25 (screenplays & films up
30 min.)
$60 (30-60
min.);
to
15 min.)
$40 (15
$75 (over 60
min.).
NY
Contact: LIFE Chris Cooke, Box 13243, Hauppauge,
11788; (800) 762-4796;
fax:
(631) 853-4888; Suffolk
[email protected]; www.lifilm.org
Deadlines: March 15 (early); April 30

marily seeks features shot
videos "shot
Maine
35mm,
Formats:
Entry fees:
web
in
site.
$30
in
35mm
Maint focus."
Beta SR Preview on VHS.
3/4", VHS,
$40
Fest pri-
and short films &
or with a significant
(early);
ME.
July 6-15,
(final).
(final).
Entry form avail, on
Contact: MIFF, 10 Railroad Sq., Waterville,
04901; (207) 861-8138;
fax:
ME
www.miff.org
MARIN COUNTY NATIONAL FESTIVAL OF SHORT

FILMS,
$12 &
s.a.s.e. Contact:
13
Valley School of Colorado, Colorado Springs,
(final).
392-2657;
March 16
(early); April
fax:
31st annual fest runs as part of the Marin Co.
CO 80911;
Fair
(719)
July 2-6, CA. Deadlines:
DDYFVFF, David Manley, Fountain
w/
films screening daily.
Maximum
running time
is
391-9039; dunnefest@ftnval-
30 min. Film submitted must have been completed
after
ley.com; www.fvs.edu/studlife/epdomini.html
www.d-l-f-f.org
shit." Fest is a competitive
hsdff@
docufilminst.org; www.docufilminst.org
Jan.
DANCES WITH FILMS,
Springs,
(501) 321-4747; fax: 321-0211;
$75; 3rd, $50. Formats: VHS. Preview on VHS. Entry fee:
60
is
have subtitles & clearances. Formats:
Lucila Vasquez,
jury for a big screen screening,
web
Fest
Best Short Doc, Best Feature Doc, Best Experimental
fax:
seeks to
3/4".
Contact:
(late)
MAINE INTERNATIONAL FILM FESTIVAL,
emerging
the schedule
Aug., TX. Deadlines:
(final).
Project, the only non-profit
CO 81224; (970) 349-2600;
GA. Deadlines: March 31 (early); April 30
international
35mm, 16mm, VHS,
Preview on VHS. Entry fees: $25; $45
AR 79102;
cate-
celebrities
forums & lectures. Cats: documentary,
in
LONG ISLAND FILM FESTIVAL, May
Texas. Cats: shorts, features. Awards:
(final).
June
&
964-8601;
(313)
Documentary Film
Box
"Independent" by offering underexposed

in
4129
tary film society
dir.,
DAHLONEGA INTERNATIONAL FILM FESTIVAL,
makers
dir.,
participate
works-in-progress. Formats:
NY. Deadline: April
www.docfilmproject.org
1,
nonfiction
in
filmmakers
[email protected]
TX 78215;
Fest
35mm, 16mm,
$25. Contact: DIEFF, Richard Sanchez,
reelfest.com
(final).
& genres produced
S-VHS, VHS. Preview on VHS. Entry
349-1384; [email protected]; www.crestebutte
28-July
lengths
all
Fest accepting
1.
the last 100 years. Formats:
8, digital video,
VHS,
other cats). Contact: CBFF, Jessica Hunt, exec,
1733, Crested Butte,
May
VAL, June 7-14, CO. Deadline:
(all
proof of status);
Academy Award nominees
year's
zlink.com; www.davincidays.org/2001/film_video.html
$35
w/
Entry fees: $30 (student
beautiful Hot Springs National Park, Arkansas.
in
OR 97339;
Competitive short film fest
(student).
of the
Noncompetitive fest honors films and filmmakers each
Hutchens, fest director, Box 1536, Corvallis,
fee:
CRESTED BUTTE REEL
one
for
celebrations.
film
Tina
year
super
3464; [email protected]; www.cuff.org
submissions
nonfiction
(final);
dVFVF,
Contact:
(final).
feature, narrative short, doc, experimental, animation,
music video, audience choice & "Made
premier
country's
K-12
Annual
(late).
Preview on VHS (NTSC
digital.
in
transcend commercial expectations. Awards:
&
lenge
& present works
each
in
fest accepting nonfiction film
8th install-
(final).
of Chicago's premiere independent film event. Fest
was created
People's Choice Awards given
&
Juried
May 15
IL Deadlines: April 7 (early);
12-21, AR. Deadlines: March 28; April 28
festival, aug. 17-23,
(e.g.,
known
GOLDEN SHOWER VIDEO FESTIVAL,
June
8-9,
TX.
Deadline: April 28. Looking for features and shorts out of
mainstream.
the
Prizes:
1st,
lowrider bike;
2nd, mini
accordion; 3rd, lucha libre gear. Format: VHS. Preview on
VHS. Entry
All
fee:
$10 cash
only,
no checks or money orders.
selected works get a free t-shirt. An official entry form
must accompany
site.
Contact:
all
entries; avail, for
download from web
GSVF Adam Rocha, 8039 Callaghan
Rd.
1,
1999. Cats: animation, student, independent,
documentary,
$2,400
ed films
in
& up
ed. Formats:
$20
experimental,
awards
(short),
San
Awards:
Up
to
independent, student, and animat-
to three
honorable mention ribbons award-

$35
eign). Contact:
Flags,
family.
for
(foreign); final,
$25
MCNFSF. Mann Co.
Rafael.
Entry fees: early,

(short).
Fair,
$40
(for-
10 Ave. of the
CA 94903; (415) 499-6400;
fax:
499-
March 2001
THE INDEPENDENT
49
E)
METHOD FEST INDEPENDENT FILM

Named
23, CA. Deadline: April 28.
FESTIVAL, June 16for the 'Stanislavski
Method,' test highlights the great performances of inde-
pendent
08901;
932-8482;
(732)
NOMAD VIDEOFILM
Deadline: April
Sculpted statuettes
Cats:
feature,
Awards:
short.
various categories, film services
in
feet of Fuji
Motion Picture Film to winning
Port
in
Townsend WA,
film.
Best Actor,
to
Actress,
San
Seattle, Portland,
16mm, 35mm,
Beta SP, DV. Preview on VHS. Entry fees:
No theme
visions.
(short);
$50
(feature). Contact: MFIFF, Elaine
Segundo, CA 90245; (310) 535-9230;
337,
St. Ste.
fax:
in
March 16 (screenplay competi-
April
tion).
Fest focuses on screenwriters
(film);
&
their craft, pre-
sents feature films, short films, docs, staged readings,
Q&A w/
&
filmmakers, panel discussions
any video,
& works-in-progress &
get feedback from
& filmmakers.
Cats: Any style or
NVF,
mercial distribution or U.S. broadcast. Screenplay
com-
must
original,
narrative,
short,
35mm.
Formats: VHS, Beta,
media format. Formats:
$35 (screenplay). Contact: SFBFF, Box
(films);
DV.
Preview
15490, San Francisco, CA; (877) 467-1735;
U.S.
INTERNATIONAL FILM AND VIDEO FESTIVAL, June
7-8,
IL.
&
21.
Founded
1968, this
in
the
is
doc,
TV,
productions.
informational
industrial,
Entries are grouped w/in 71 categories or 11 production

of
techniques where they are judged
in
a two-tiered system.
videos about
&
&
Productions must have been completed during the 18

trans-
months preceding the deadline. Awards: the
eligible for
known
int'ly
shorts.
Camera Award &
Gold
Rough cuts & works-in-progress are
March
Deadline:
world's leading competition devoted exclusively to busi-
(films);
28 (screenplays). Held at the Directors Guild
America & nearby venues, fest seeks films
submission
Award plaques
Silver Screen
&
top productions, certificates

will
775-
fax:
entries). Contact:
ness,
tape
Van
1332; [email protected]; www.sfbff.org

int'l
FESTIVAL, July 12-23, CA. Deadline: March 31
print or
Cats:
Melvin
originate
Box 7518, Berkeley, CA 94707; (510) 464-4640;
an exhibition
Awards:
doc.
Best Short, Best Doc, Jury Award for Best Screenplay.
$25
Works can
OUTFEST: THE LOS ANGELES GAY AND LESBIAN FILM
if
must be screenwriter's
films can
etc.
selected entries
prizes,
and/or of interest to gay men, lesbians, bisexuals
com-
petition: entry
animation
genders. Seeking narrative features, doc features

not have had
genre. Film submissions: entry
film &/or
&
strong
[email protected]; www.verticalpool.com/vstuff.html
April
other screenwriters
&
descent
Peebles Maverick Award to overall winner; Best Feature,
&
the Morning
Coffee With... series. Writers are encouraged to present

their films
No cash
on VHS. Entry fee: $15 (no fee for
NANTUCKET FILM FESTIVAL, June 20-24, MA. Deadlines:
short docs
year;
receive written audience responses.
535-9128;
[email protected]: www.methodfest.com
14
this
the Black Experience.
of African
be of any genre: comedy, horror, romance,
or
encouraged. Awards:
Don Franken, Franken Enterprises, 880 Apollo

El
Wood
& about
by
Filmmakers need not be
others. Fest seeks short video/films (15
min. max, any category) expressing audacity
$35
the African cultural Diaspora and
made
highlights films
Fran.,
Formats:
Screenplay.
&
African America
feature,
&
Santa Monica
Awards
WA, OR, CA.
Berkeley-based fest has been a Pacific
1.
SAN FRANCISCO BLACK FILM FESTIVAL, June 14-17,

CA. Deadline: March 31. Fest celebrates the cinema of
tour,
Coast touring venue for alternative media since 1992, w/
&
stops
5000
FESTIVAL, June
Seeking story driven films with outstanding
film.
performances.
acting
njmac@
932-1935;
fax:
aol.com; www.rci.rutgers.edu/~nigrin
be avail. June 15, 2001.
for
industry-spon-
special
sored awards. Preview on VHS. Entry fees: $150-$215.
unproCats: feature, doc, short, gay/lesbian, animation, experi-
duced work. AwardsJony Cox Award
for Screenwriting
Best Writer/Director Award,
Competition,
mental. Awards: Twelve awards ranging from
$500
Contact: UIFVF, 841 N. Addison Ave., Elmhurst,
IL
60126;
to
Audience
834-7773;
(630)
834-5565;
filmfestinfo
film-
festawards.com; www.filmfestawards.com
Nomadic
Around
Existence
VIDEOGRAPHER AWARDS,
time
Nirvana
put
on the
alternative
map
the
Event
als
Seattle back
in
Nomad
1992,
up
started
& companies
bimonthly screening room for exper-
ROM
imental media. For the next two
up
its
big screen video monitor
March
17.
video
the
in
for video
production
&
production
industry.
events
special
&
video. Cats incl. educational, student, special events

legal.
years the fest set
Deadline:
TX.
an awards program to honor talented individu-
Awards given
as
is
web
Formats: VHS, S-VHS, Betacam, Betacam

(PC), DVD. Entry fee: $37.50. Entry
site.
Contact: VA,
TX 76013;
and sound system, every other month,
2214 Michigan,
459-0448;
(817)
fax:
forms
CD-
SP,
avail,
on
Ste. E, Arlington,
795-4949; info@
videoawards.com; www.videoawards.com
Then
at a different Seattle venue; night clubs, restaurants, art galleries, warehouses.
1995 it-was reborn as the

venue.
The
tour
visits
an annual
Francisco and Mendocino,
CA)
Pacific
offering a
Foreign
Coast touring
Townsend and Seattle,
small towns and big cities alike (Port
OR; and San
Portland,
Nomad VideoFilm Festival,
in
WA;
ACAPULCO BLACK FILM FESTIVAL,
June 4-9, Mexico.
Deadlines: March 2 (features); April 2 (shorts). Fest
wide range of audi-
is
celebration of the cinematic work of Black filmmakers
ence feedback by asking the crowds in each town to write

work, which
is
down
their reactions to the
showcasing independent Black cinema from
artists,
around the world. Fest's
sent straight to the mediamakers. See Listing.
&
atmosphere pro-
retreat-like
vides an intellectually charged environment to support
independent filmmaking &
Awards
for
Best
and Short
Feature
Film.
Formats:
$2,000. Formats:
35mm, 16mm.
Preview on VHS. Entry fees: $40 (fea-
35 mm.
tures);
$25
Goode,
Artistic Director,
(shorts.
or less). Contact: NFF,
Box 688, Prince
Jill
bootcamp, panels,
under 60 min.). Contact: Outfest, 1125 McCadden
CA 90038;
PI.,
Deadline: April
&
CA. Deadline: March 15. Estab.
showcases the
video, featuring premiere
in
subject cinema
&
film
age
is
24
months, no repeat entries. Cats: animation, doc, short,

experimental, feature.
Formats:
16mm, 35mm,
and features about Jewish
SP, Hi-8, digital.
3/4",
NJIFF,
Rutgers
Film
Co-op/NJMAC,
Francisco,
Rutgers Univ. Program
(108 Ruth
50
Adams
in
Cinema Studies, 131 George
Bldg./Douglass),
THE INDEPENDENT
New
10013;
219-7267;
(212)
fl.,
New
925-3426;
[email protected]; www.abff.com
ALGARVE INTERNATIONAL FILM FESTIVAL, May
21-26.
Competitive, shorts-only
Portugal.
Deadline: April
fest seeks
works under 30 min. Cats: doc, animation,
15.
culture
&
fic-
shorts
tion.
Awards: prizes totaling $20,000. Formats:
35mm
only.
Preview on VHS. No entry fee. Contact:
Carlos
identity.
yr.
Formats:
35mm,
Sam
CA 94103;
Manuel, General
Dir.,
AIFF,
Oil 351 21 851 36
Box 8091, Lisbon Codex, Portugal;
15; fax:
351 21 852 11
50; algarve
[email protected]; wwwalgarvefilmfest.com
Ball,
Assoc.
Dir.,
346 9th
St..
San
(415) 621-0556; fax: (510) 548-
FUKOUKA ASIAN FILM FESTIVAL,
July,
Japan. Deadline:
St.
Brunswick, NJ
March 2001
& animated
Beta SP Preview on VHS. Contact: SFJFF, Janis
Plotkin, Dir or
Contact:
history,
35-40 films showcased each
16mm,
(up to 20 min.); $45 (between 20-50 min.); $60 (over 50
mm.).
July 19-Aug.
NY
Filmmakers need not be Jewish; films selected by subject.
Beta
Beta.
diverse selection of foreign films. Fest
presents dramatic, doc, experimental
& guest appearances. Max
35mm,
1980, noncompeti-
showcases new independent American Jewish-
screenings of award-winning works, seminars, panels

discussions
more. Cats: fea-
Contact: ABFF, 100 Ave. of the Americas, 17th
FESTIVAL, June &
6th annual fest
6.
independent film
&
Formats:
(323) 960-9200; fax: 960

York,
tive fest
in
entertainment
2397; [email protected]; www.outfest.org
5,
best
live
Preview on VHS (two copies req. of each submission).
SAN FRANCISCO JEWISH FILM FESTIVAL,

July, NJ.
networking
Ste.
www.nantucketfilmfestival.org
NEW JERSEY INTERNATIONAL FILM
facilitate
to
Black film professionals. Fest offers an Actor's
ture, short, works-in-progress.
235, Los Angeles,
NY 10012; (508) 325-6274; [email protected];
York,
among
VHS. Entry fees: $25 (features, over 60 min.); $10 (shorts,
New
St. Station,
35mm, 16mm,
0536; [email protected]; www.sfjff.org
March 31. Competitive
fest accepts feature films
made
CALL FOR ENTRIES

ANNUAL STONY BROOK
6TH
July
Staller
FILM FESTIVAL
18-28,2001
Center for the Arts
NY
State University at Stony Brook, Long Island,

Competitions
in
6mm
and
35mm
For
films
including features, shorts, documentary
more
information, call
631-632-7233
or email [email protected]
seats)
Entry forms are available online at
and film screen in the region (40 ft. wide)!

Over 1 2,000 attendees at the 2000 Festival!
stallercenter.com/festival
and animation.
Largest venue
(1
,000+
or write
to:
Stony Brook Film Festival
2000 Stony Brook
Film Festival
Staller
Filmaker Reception
Left to right:
2000.
July 22,
rm 2032,
Village Voice Critic,
Michael Atkinson;
Newsday
Movie"
SUNY
NY
Stony Brook,
Chief
Film Critic, John Anderson;

"Steal This
Center for the Arts

Stony Brook
1
Entry Deadline: April
794-5425
1,
2001
director,
Robert Greenwald;
Festival Director,
Alan
2000 Stony Brook
Inkles.
Film Festival
2001 Stony Brook
Opening Night
SB
,1
Film Festival
July 18-28
//
2000
premieres, below from
left
to right: "Steal This
II
Movie," "Wildflowers," "Last Request," "Playing
Mona
Lisa,
i
"...In
the movie-crazed town of Stony Brook
revolutionary
It's
tack:
groundbreaking.
something
It's
for
cutting-edge.
on the campus of the State University of
everybody.
It's
Studio
Blockbusters.
Independents.
New
Short
nostalgic.
-
York, they're taking

films,
it's
visionary.
John Anderson, Newsday
by Asian or Asian American directors &/or featuring
CHICAGO (IMDEBCBulWD
Asian subject matter. Cats: feature, short, doc, anima-
Awards: non-cash
tion.
16mm, 35mm.
prizes. Formats:
Preview on VHS. No entry fee. Contact: FAFF, Shu Maeda,

Hirako bldg., 4th
2-4-31, Diamyo, Fukukoa. Japan
fl.,
810-0041; Oil 81 92 733-0949;
81 92 733-0948;
fax:
[email protected]; www2.gol.com/users/faff/english.html
SPLICE THIS!, June 23-25, Canada.

Non-competitive fest dedicated
gauge
films,
Deadline: March 31.
showcasing a wide range
work by
of
time filmmakers and seasoned super-eighters.
must be shot predominantly on super

super
8, silent
super 8 w/
8,
small
to the exhibition of
first-
entries
All
Formats: super
8.
accompaniment, super
live
8 w/ sound, super8 w/ audiocassette. Preview on VHS.

Entry fee:
&is# S^l^/ \S>S^
Contact:
$5.
M6J2X4;
Ontario
423 Shaw
ST!,
Toronto,
St.,
coldsore
537-2256;
(416)
interlog.com; www.interlog.com/~coldsore/
PETERSBURG "MESSAGE TO MAN" FESTIVAL,
ST.
15-22,
Deadline: April
Russia.
Fest
15.
June
unique
is
opportunity for communication between filmmakers from
CALL FOR ENTRIES, 2001!
of
"message
to people," realizing
ph.7,
40
animated films (up
min.), short fiction (up to
60 mm.). Program
to
SSSJJ
tition
&
pleted after Jan., 2000. Awards:
DEADLINE: MAY 15TH, 2001
1info@cuflorg
in
U.S:
Anne
St., NY,
min.),
compe-
int'l
must have been com-
special programs. Entries
35mm, 16mm.
60
best debut
incl.
(1st professional as well as student films),
AOLINE: APRIL 7TH, 2001
good-
of justice,
them by the means
cinema. Fest accepts feature doc (up to 120 min.),
short doc (up to
RES AND FORMATS ELIGIBLE
who develop themes
different countries
will,
Cash awards. Formats:
Preview on VHS. Entry fee: $35. Contact

Donnell Media Center, 10
Borin, c/o
NY 10019; (212) 586-6367;
53rd
586-6391;
fax:
in
Russia: Mikhail Litviakov, 12 Karavannaya 191011, St.

Petersburg, Russia
fax:
Oil
812 235 2660,
VILA DO
fest accepting films under
logue
40 min. produced
in
2001
films
licity.
Seeks Submissions for July 13-19 Film Festival
&
it
is
not subtitled
Entry form avail, on
If
accepted, ability to screen
in
genres considered.
16mm, 35mm and VHS Video.
Cut off date
May
14.
film
annual
2000
or
has dia-
in
pub-
for festival
each category
of a
($2,300); Prize of the
& PTE 300,000

VHS.
on
these lan-
Cats: short, doc,
site.
& PTE 500.000
of
Extracts of accepted
($1,500).
Formats:
Contact:
VDCISFF.
Auditorio Municipal, Praca da Republica,
4480-715
Vila
do Conde, Portugal; Oil 351 2 52248469 or Oil 351 2
52248416;
fax:
Oil 351 2 52248416; isffviladoconde
@mail.telepac.pt; www.curtasmetragens.pt/festival/
* GALA AWARDS CEREMONY August 22 *
YAMAGATA INTERNATIONAL DOCUMENTARY FILM FES-
For application, please email [email protected],
fest looking for
call
516-571-3168
or visit our websites: www.LonglslandFilm.com and
www.Co.Nassau.NY.US/film/form2001.html
TIVAL, Oct. 3-9. Japan Deadline: March 31. 7th biennial
documentary films produced w/in two
years of festival date. 15

five or six sidebar
The Long Island International Film Expo is under the auspices of

the Long Island Film &TV Foundation and
the Nassau County Film Commission
March 2001
Competition, plus
&
Asian concerns. Awards: prize money totals $45,000.

Films must be at least 60 min.
in
No entry
length. Formats: film
fee. Contact: YIDFF,
&
2-3-
25 Hatago-machi, Yamagata-Shi 990-8540, Japan; Oil

81 23 624 8368;
fax:
81 23 624 9618; kokusai@
city.yamagata.yamagata.jp;
gata.jp/yidff/
THE INDEPENDENT
titles in Int'l
events emphasizing Asian docs
video. Preview on VHS.
52
web
animation. Awards: Grand Prize

trophy, diploma
16mm, 35mm. Preview

all
any
in
script.
may be broadcast on TV channels
Audience, trophy
Short and Feature Length Films,
If
in
FESTI-
languages other than English, French, Spanish
or Portugese
guages, include translated
Film Expo
April 20. 9th
2001. Open to films less than 60 min.
International
230 22 00;
CONDE INTERNATIONAL SHORT FILM
VAL, July 6-11, Portugal. Deadline:
Long Island
or
Oil 7 812 235 3995; [email protected]
www.city.yamagata.yama
april
www.laiff.com
20- 28/200
&0H
[email protected] "submission line 323.951.7090
Get
200
early this year
.'
,:.:
tickets to the
IFP/West Los Angeles Film
reserve a
Festival
Festival Pass! Call
323/937-9 55
1
Individual tickets will

Visit
the
be available beginning March 22nd.
web
site:
The IFP/West Los Angeles Independent
ifp/west
Film Festival,
feature-length and short films
in
www.lafilmfest.com
now
entering
its
seventh year, showcases North American
the center of LA's filmmaking community.
Q
notices of relevance to aivf
free
charge
of
members are
space
as
listed
the
permits.
download DOCtober/IDA Awards
or
www.doc
entry form
umentary.org
independent reserves the right to edit for

length and makes no guarantees about repetitions of a given notice. limit submissions to 60
words &
info will be current,
deadline: 1st of the month,
two months prior to
cover date
(e.g.,
april
for june
complete
issue).
contact info (name, address & phone) must
hudson
notices, five 304
we try
the
66
on
Flicks
6th fl,
Award:
to be as current as possible, but double-
check before submitting tapes or applications.
to
to shoot, edit
&
April 1. Entry fee:
$35. Appl.
NM
87194;
on
info: Flicks
fax:
(888) 837-
feature films. Entry fee: $45. Awards: 1st,
$500; 3rd, $250.
Character-driven,
&
professional actors
SCREENWRITING COMPETITION:
Highway 34, Matawan, NJ 07747; (732) 583-2138,
For
crew. Deadline: Aug.
& submission
rules
NEW ENGLAND SCREENWRITERS CONFERENCE
1626
Enterprises,
#382,
N. Wilcox Ave,
GLAdams
CA
Hollywood,
90028; www.finalcutcontest.com
85%
ly
may
not have been previous-
optioned, sold or produced. Other rules apply. Rules
web
applications available early March via
Awards:
phone.
industry
donated
site,
&
email or
$1,000 Cox Communications Award,
meetings,
professional
Carroll, Special Projects Coordinator,
&
notes
script
May
prizes. Entry fee: $15. Deadline:
"Film
15.
other
Wendy
Arizona"
In
Screenwriting Competition, 3800 N. Central Ave., Bldg.

Phoenix, AZ 85012;
D,
(602) 280-1380; fax: 280-1384;
[email protected]; www.azcommerce.com
experience, feedback
&
up
sit
& drama (based on
May
enter 1-
screenplay you've already written, or
of
screenplay you intend to write. Judges evaluate synopses

on
&
originality, marketability
receives personalized
cleverness. Each contestant
commentary on merits
Script
free
Detail
pass
VIP
$500,
to
Heart
to
Screenwriters Conference (October 11-18)
of
&
the
Film
AFF
bronze typewriter award for each category winner. Entry
$25. Deadline: March 15. Contact: (512) 478-4795.
fee:
CALL FOR ENTRIES:
[email protected];
www.thesource.
LAUGHING HORSE PRODUCTIONS announces
of
every genre
& have
accepted
submission
for
showcase emerging
w/the WGA.
Planet,
Deadline.-
April
30.
Prizes:
&
of
Seattle;
1st,
Entry
Theatres,
LA411,
International
&
Remsen
Laemmle's
Festival
Magazine,
Film
IAM.com and
2nd:
Bert
&
consideration.
films entered
info,
anytime
day
18.
Festival
w/ discount:
programmers
fessionals. Top tier judging
some
is
judges are Hollywood pro-
done by representatives
of the top studios, production
of
companies, agencies,
is
open
to
is
properly bound, and correctly format-
doc films
Awards:
1st,
prize also
$2500; 2nd, $1000; 3rd, $500. Plus,
comes
will invite
lines:
May
selected films that
1.
Please
visit
specifying
name, address, phone number, fax number,
&
artist's
(upon
acceptance)
shops,
screenings,
&
goals
film/video;
in
includes
Victoria,
St.,
lunches,
BC
ReelShorts,
356-0092;
B.C.
previous train-
dinners,
& admission
panels
200-764 Yates
fax:
&
Please note: videotapes
to:
4118;
or
statement (approx. 250 words)
events. Send entries
work-
most
to
will
$125
test
Festival of the Arts.
V8W
1L4; (250) 920-
[email protected]
www.bcfestivalofthearts.bc.ca
ativity,
NATIONAL SCREENWRITING COMPETITION:

best scripts
&
to
To find the
reward screenwriters for outstanding
writing. All scripts entered in competition will
be evalu-
For
further
ic
info
quality
&
superior writing.
each script
In
the
&
petition,
Programs & Festival Administrator
Scripts that qualify based upon the
534-3600
innovation
&
FESTIVAL:
art of storytelling. Scripts
have been sold or optioned
regarding DOCtober, contact: Melissa Simon Disharoon,
March 2001
drama
age; indicate your preference for
our website for further details, mauis-
may
THE INDEPENDENT
short
(a
tape: a cover sheet
RHODE ISLAND INTERNATIONAL FILM
ated based upon concept, structure, character, cinemat-
at (213)
VHS
Screenplay competition 2001. Created to recognize cre-
A co-op fee
54
Please send us: Sample of your work
Entry fee: $50. Deadline:
15.
screening.
$10.
with a fully paid admission to the
first
eligible. Early
April 13. Final deadline:
Fee:
short.
into
meet these requirements by August

apply for festival
least one
at
B.C. Festival of the Arts. Submission guide-
not be returned. Deadline: April 7. Registration fee:
June
of festival; only individual
bird deadline
to:
in
17 years of age or
ing; s.a.s.e. for notification.
All
minimum
months following
of the Arts
emerging inde-
3. Eligibility: B.C.
prior experience in film or video production
documentary; an
no broadcast, or other television air-
prior to, nor within 6
June
to
& who have completed
[email protected]; www.mauiwriters.com
ing
in five-
PETITION: To highlight quality screenplays that may not
2001 Maui Writers Conference.
who have
release form, or
screening format must exist on film
35mm)
If
from
artists
otherwise get discovered.
each
DOCtober, as long as they meet following
or
May 26
Nelson,
short length films for

All
30 emerging
to
resume, including film/video experience
ted.
(16mm
choose up
will
describing your artistic vision
IDA Awards competition considered for invitation to
requirements:
jury
MAUI WRITERS CONFERENCE SCREENWRITING COM-
sold or produced,
Academy Award
entries.
Columbia, send us samples of your work.
living in British
Our
email address
any feature film screenplay that hasn't yet been optioned,

qualifies feature
for
Call
in
Remsen Memorial
networks & management companies. Contest
Reelmind.com. Contact: www.flickapalooza.com
DOCTOBER
REELSHORTS VIDEO WORKSHOP:
you're an emerging independent filmmaker/videographer
film/video up to 20 min. max.) on
designed
Filmport,
Documentary Association,
International
www.
Entry fee:
Bert
$1000 & performed readings
Scholarship of $500. For more
talent by presenting films that
iFilm,
OH 44109;
(216) 781-1755; [email protected];
payable
must be sent w/ each screenplay.
Los
have not screened elsewhere. To date: Sponsored by

Creative
late
$60 per screenplay.
Contact: OIFF 1121 Clark Ave., Cleveland,
standard screenplay format
and video,
until April 2. Festival
1):
day ReelShorts program at B.C. Festival
application, visit: www.geocities.com/lhprods
to
$40 per screenplay;
15):
entry fee (postmarked by June
pendent filmmakers/videographers
Memorial Scholarship
digital
May
fee (postmarked by
older,
in
copyright or be registered
release form
$45.
35mm, 16mm,
screen-
literary agent,
scripts yet to receive attention they
deserve. Scripts must be
Los Angeles
genres, shot on
LA
to
industry script analysis. Early entry
3rd
Annual Screenplay Contest. Seeking compelling scripts
Angeles from June 10-14. Feature and short films from

all
&
throughout B.C. to work with professional mentors
Flickapalooza has announced a call
for entries for the Flickapalooza Film Festival, held in
submission
Nov.,
each syn-
of
screenplay of your choice.
of
in
ohiofilms.com
opsis entered. Winner receives free copy of Final Draft,

plus
incl.
compen-
winner. Airfare compensation up to $500, hotel
up
genres accepted. Prizes
All
$1,000, screenplay reading at Ohio Independent Film
agent, producer, or
take notice.
Call for
Award & Best Northcoast
entries for Best Screenplay
writing software
make an
rent synopsis writing would
page synopsis
To give
Deadline: last day of every month. Only on-line entries
pre-existing show). Awards: $1,500 for each category
sation
OHIO INDEPENDENT SCREENPLAY AWARDS:
whether your cur-
direction as to
com.au/hollywood/entry-form.html
cats: sitcom
Tom
s.a.s.e. to:
Film Foundation, Box 6705, Providence, Rl 02940; (401)
Festival
&
development company
AUSTIN FILM FESTIVAL PRIME TIME COMPETITION:

Two
Send
prizes. Deadline: July 8.
Dooley, Screenwriting Competition Director, Providence
Screenplay Awards.
HOLLYWOOD'S SYNOPSIS WRITING CONTEST:
accepted;
Call for entries.
cash
annual competition. Finalists
third
its
NESC, receive industry introduction & $5,000
invited to
of screenplay's locations
must be authentic Arizona. Industry standard format

req'd. Entered screenplays
seeks
feature-length, English language, original, un-optioned
Entry fee:
1.
contact:
info,
Nat'l competition for original feature-length screenplays
(90 min.. 130 max. pgs).
fax:
751-9300; www.NEScreenwriters.com
Arizona to Hollywood creative community.
in
$2,500; 2nd,
Seamus OTionn-
promote screen-
To
$45.
plays set
format
$1,000 & a scene shot w/
arizona
in
standard
feature-length,
scripts accepted. First place:
arizona film commission's film
from around the world.
scripts
31.
566-7336; [email protected]; www.national screen-
in
looking for quality
May
Deadline:
ghusa, Director, National Screenwriting Competition, 755
screenplays for
HOLLYWOOD "FINAL CUT" SCRENPLAY COMPETITION
Competitions
be con-
will
editing equip. Deadline:
9289; [email protected]; www.FLICKSon66.com
is
winning entries
All
writing.com
&
video camera
digital
ny 10013.
ny,
come
finalists
screen their movie while competing for Palm de Grease.
66, Box 7038, Albuquerque,

st.,
Ten
festival.
Albuquerque, during week of July 13-21
independent
to:
DIGITAL SHOOTOUT:" Ten-
Minute Scripts. Accepting 12-page scripts for production
postmarked
accompany all notices. send
WEST
FLICKS ON 66 "WILD
in
how long
indicate
read by the entire panel.
sidered for their possible production or development as
will
be read
initial
round of com-
rated by one reader.
above
criteria will
be
Awards: Grand, $2,000

reading of work.
Austen
Sharp,
in
must not
prior to entry. Entry fee: $30.
cash & prizes plus staged
Deadline:
Screenplay
April
1.
Director,
Contact:
Eleyne
Rhode
Island
International Film Festival, Box 162, Newport, Rl 02840;
(401)
861-4445;
fax:
www.film-festival.org

COMPETITION. Grand
postmarked Jan.
fees:
deadline;
April
$40
5,
$50
16,
Hollywood,
work shown.
to get
on VHS)
$45
(first
com
$10 (check/m.o.). Films screened monthly &
Contact:
7775
(323)
COMPETITION
2001.
Aug.
Deadlines: April 9 (early); April 23
your
thing
heart
desires
experimental,
12 recognized. Prizes include cash, software, plus sub-
less,
$40-$50. Deadline: July 23. Contact: Larry Hansen,
Slamdance Screenplay Competition

1786;
[email protected];
466-1784;
fax:
466-
Director, (323)
drama,
video,
produced
documentary,
video, or
in film,
computer animation
mat but must be submitted on BetaSR
Hi8/8mm
or
videotape. There
is
looking for possible inclusion
service
public
3/4", S-VHS,
Territory,
in all
(Texas)
New
Street,
of
indepen-
works under 30 min.
avail, for non-exclusive,
work, brief synopsis
of
SWAMP, 1519
to:
25th season of The
statewide
broadcast btwn. Oct. 2000-Sept. 2001. Send
VHS (NTSC) copy
also a youth category for
in
PBS showcase
country. Recent
in
genres that are
for-
VHS
high school age entrants between the ages of 13 and 18.
NOVAC, 4840 Banks
the longest-running
dent film/video
& filmmaker
bio
Main, Houston, TX 77006; (713)
522-8592; [email protected]; www.swamp.org
Orleans, LA 70119;
(504) 486-9192; fax: 486-9229; [email protected];
www.slamdance.com
670-3616; www.igh
SOUTHWEST ALTERNATIVE MEDIA PROJECT (SWAMP)
animation,
announcement, whatever. Entries must be 9 min. or
fee:
&
scripts
Fest open to
(final).
Lousiana residents. Entries can be just about any-
purchased, or produced (see entry form for other rules).
agency & major studio. Entry
(718)
synopsis, bio
incl.
multimedia.com
music
literary
submissions must
script
31
Screenplays must not have been previously optioned,
mission to a major
&
staged quarterly. Contact:
SHORTS FESTIVAL:
VIDEO
LOUISIANA
all
SCREENPLAY
(submitted
for April. Film
Contact: Matt (212) 691-0995; matthew@indieplanet.
SLAMDANCE
March & animation
flicks for
entry
CA 90046;
entry).
(late
PMB #200,
Sunset Blvd.
(early); Mar. 5,
week, giving filmmakers opportunity
&
$25,000. Deadlines
prize
of the oldest alternative
[email protected]; www.gnofn.org/~novac
TEXAS FILM INSTITUTE SCREENPLAY COMPETITION:
To promote, develop
& seek production
screenwriters within the studio
Our sponsors expect
ket.
from winners that
which we are known
in
& independent
standards
$75
March
mar-
film
of writing for
the industry. Awards: Cash, pro-
ducers one-on-one, relevant screenwriting

fee:
talented
dramatic scripts
to read solid
reflect high
new
of
$50 (without
(with notes);
Entry
tools.
Deadline:
notes).
media organizations

&
accepting short video, film
30 min.
of
ing
digital
media submissions
or less on ongoing basis for
program Independent Exposure.
an honorarium &
monthly screen-
race, class
of political
VHS
non-exclusive distribu-
will qualify for
alternative,
avant-garde,
2000, The Ranch of Dos Cerros, 409 Mountain Spring,
subversive,
animation
humorous, dramatic,
&
&
&
selected
will,
in
int'l
THE ANNUAL IDA AWARDS COMPETITION: Sponsored

& honor
our
achievement
nonfiction
in
&
film
narratives,
other works attentive to intersections of
gender. Projects that address other issues
545 Eighth
Ave.,
New
York,
NY 10018; (212) 947-9277;
fax:
erotic,
&
Shaw.
a bimonthly webzine, is seeking innova-
and
to nat'l
&
new media works as
experimental
well as
anima-
for additional
& may
qualify
home
MEDIA GRANTS
NEW YORK STATE
IN
dis-
video compilations as well

tinguished
video sub-
& underground works. Works
most cases, continue on
DVD/VHS
screenings
for
by Eastman Kodak, IDA Awards recognize
venues
feature length
tive
texasfilminstitute.com; www.texasfilminstitute.com
&
docs,
seeking film
WIGGED.NET,
99TFI@
Boerne, TX 78006; (830) 537-5906; 537-5906;
U.S.,
director's bio to: Third World Newsreel. Attn: Noel
int'l offline
online sales. Looking for short experimental, narrative,
15. Contact: Jeff Pettigrew, Creative Assistant, TFI
&
short
of
experimental
Artists will be paid
tion deal, including additional license fees for
&
missions
in
Experimental Television Center
The
video.
provides support to artists working
asnetcastingvia microcin-
Winners honored at 16th Annual Awards Gala on Oct. 27.
ema.com. Submit VHS

discount: April 13. Final deadline:
(NTSC
May
S.
CA
x.
68;
state;
Fund
[email protected];
York
Arts Technical Assistance
is
intended to help nonprofit media arts

I
photos
Microcinema,
To discover fresh writing tal-
cable. Email or mail s.a.s.e. for complete
to:
Inc..
New
in
York state stabilize, strength-
2318
en or restructure their media
PMB 313-A,
WA
98121.
supported
Amy
Jenkins'
Shelter for Daydreaming, a
two-channel video
arts organization-
installation.
Second Ave.,
Seattle,
al capacity, services
and
activities.
The program
aims to encourage events that create an

entry form. Spec scripts
60 min. or 2-hour
pilots.
in
any genre
Awards: Winners
for
in
30 min.,
two
divi-
sions each receive $500. Entry fee: $45. Deadline: June
Info/details:
(206)
568increasing understanding
and appreciation
independent media work
in all
22367, Eagan,
MN
Competition,
PO.
Box
55122-0367; info@uniquetelevi-
of
info@microcine
6051;
ma.com;
areas of the
www.microcine
state.
Unique Television
Contact:
1.
and The Media
programs
UNIQUE TV COMPETITION:
&
New
phone number
length,
90035;
incl.
&
currently in
& any support materials
(310) 284-8422
rules
work
progress; Presentation Funds are presented to nonprofit organizations in
www.documentary.org
ent for TV
offers three funds:
name,
Robertson, Ste. 201, Los Angeles,
It
Finishing Funds provides up to $15,000 to individual artists with
title,
1551
artists.
preferred)
clearly labeled with

18. Entry forms: International
York State. Since 1989 the center has awarded
nearly $600,000 to various media organizations and
S-VHS
w/
New
film in
or
IDA screens winning films at DocuFest on Oct. 28. Early

bird deadline
media and
in electronic
See
Listing.
ma.com
MY NAME IS CONSTANT;
am a video artist, musician,
I
sion.com; www.uniquetelevision.com
1997
poet. Since
have
been producing a weekly conceptual video art program
Films
FILM
Tapes Wanted
STUDENTS CALL FOR
Awards Student Film
Festival
on Time Warner (public access TV)
Angelus
from different
artists to
in
Manhattan &
1.
Cash
ings. Contact: (800)
show on the program. Contact:
Seth
QUEER PUBLIC ACCESS TV PRODUCERS
874-9999; www.angelus.org
show
for experimental, narrative,
subversive, animation
humorous, dramatic,
& underground works
season. Controversial, uncensored
seek public
Edmund
Varuolo,
in
020206,
Staten
queer community programming.
NYC
area.
Island,
NY
10302;
Incl. info
Send VHS tapes
Comm.
to:
Eric
&
distribu-
Freedman, Asst. Professor,
film
seeking short films to
be showing
new
itself.
for entries
Series
777 Glades
Rd.,
Boca
programs. Call for entries avail. Feb. 25. Deadline:

15.
Download
call-for-entries at:
will
&
script
indie
submissions
& formats welcome.
for
May
www.wybe.org
ZDTV 2ND ANNUAL CAM FILM FESTIVAL:
This unique
[email protected]
film festival allows people to
INTERNATIONAL EXPOSURE FOR SHORT FILMS. The
site, will
a story as unique as city
funds to projects & actually funding a few key original
Dept., Florida Atlantic Univ..
web
tell
program genres wel-
All
about your program's history
REEL ALTERNATIVE FILM SALON,
is
WYBE-TV PHILADELPHIA STORIES: Looking

that
acquire programs already produced, providing finishing
www.
2droogies.com
be aired on
drag,
2droogies productions,
c/o
Film Channel at lndieplanet.com
bi,
academic press book on
Raton, FL 33431; (561) 297-2534;
Box
375-0927;
(330)
erotic,
& subversive
material encouraged. Guaranteed exposure
in
for inclusion
tion.
Contact:
Thompson,
[email protected]
looking
come.
fall
For details
'submit media' page at www.wigged.net. Contact:
prizes, gifts, Directors Guild screen-
trans subjects, for inclusion
in
made
Deadline:
accepting submissions
access show tapes by/for/about gay, lesbian,
INDUSTRIAL
videos
ongoing.
visit
Box 050050, Brooklyn, NY 11205; [email protected]

through July
&
web.
looking for work
Brooklyn, entitled Snacontt Arts.
ENTRIES:
am
tion
for
Brooklyn's original
filmmakers
of color,
second season.
Special interest
in
All
seeks
genres
female action
homemade
digital
submit their own short
movies using personal equipment
such as video cameras or small
known as netcams. Anyone can
digital
web cameras
participate
& may sub-
mit their work at www.zdW.com/camfest. Cats: humor.
shorts each
March 2001
THE INDEPENDENT
55
Gîii)
ZDTV network promotions &
special effects, fiction, doc,
March 31.
a college cinema cat. Deadline:
ALLIANCE OF CANADIAN CINEMA TELEVISION AND
John at Road Rash Music (ASCAP publisher), (703) 481-
RADIO ARTISTS (ACTRA) announces new,
9113.
innovative
program that supports low-budget filmmaking. Aims
Publications
ACTRA
increase volume of Canadian-made films.
to

repreoffers grants
up to $50,000 for production/completion
original films
& videos
of
sents over 16,000 film, TV and commercial performers
& communication.
FELIX, A journal of media arts
new
Get the
across Canada and wishes
& Maria
issue "Voyeurism," edited by Kathy High
Contact: Alex
film.
voyeurism,
&
complex
nature
topics
of
must be
928-2278
Director, (416)
explores
identity to diverse public audiences. Applicants
Communications
Gill,
Venuto w/ guest editors Nayan Shah, Lisa Steele & Kim
Tomczak,
&
ture
independent
that interpret Jewish history, cul-
these performers to
to bring
U.S. citizens or
Priority
208; or John Wright, Angus
x.
given to works-in-progress that address
of
critical issues,
Reid Group, (416) 324-2900.
Program,
info
$15.
only
price
Felix
published
is
Cover
risks of watching.
The
by
combine
BAVC announces
Standby
issues: www.standby.org
or
new media
BAVC takes
facility.
working on projects
special
in
interest
commu-
groups or about community issues. Deadline: May.
&
artistry
Deadline: April
& have broadcast
potential.
Contact: Nat'l Foundation for Jewish
5.
NY 10001; (212) 629-
Culture,
330 7th
0500
205; www.jewishculture.org
x.
can be completed
intellectual clarity,
year of award
Ave., 12th
GRANTS-IN-AID
fl.,
NY,
Natasha
Contact:
in
New
upstate
York
Awards range from $200-$400
15-22.
558-2119;
(415)
Perlis,
candidate to attend
avail, to qualified
47th Robert Flaherty Film Seminar
from June
the Independent Press can
to
within
video
in
association with
$3.05 S&H)
(plus
1.
Guide
Annotations.- A
multi-
BAVC's postpro-
to
of the
nity
For just $24.95
need.
you
access
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call
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duction
new
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ple grants of
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Artist
for entries, in postproduction grants for innovative video
Order by phone: (212) 219-0951. For more
Inc.
& back
&
the pleasures
towards registration fee
$700
of
not
(transportation
www.bavc.org
open up a world
check
send
&
of diverse
2390 Mission
IPA,
to:
exciting contacts. For order

St.,
incl.).
BAVC JOB RESOURCE CENTER: Funded
#201, San
CA 94110; (415) 634-4401; www.indy-
Francisco,
the Bay Area Video Coalition Job Resource Center pro-
press.org
vides
INTERNATIONAL FILM FINANCING CONFERENCE
(IFF-
CON 2000)
North
w/
residents
S.F.
is
America's premier financing event
independent
for
financiers,
int'l
How
&
"Financing w/
Int'l
TV."
12-5
Open Mon.-Fri.
listings.
2727
Mariposa
2nd
St.,
608-3242; [email protected]; www.flaherty
seminar.org
Independents Collaborating w/
(Local
funding
The
of
initiative
Independent
p.m.
CA 94110;
(415)
bavc@
861-3282;
partnerships between
for
San
fl
San Francisco, CA 94107; (415) 281-
Ritch St.,
NY 10038; (212) 608-3224;
moneys ($10,000-$75.000)
BAVC,
Francisco,
360
Film Seminars, Inc., 198
Int'l
NY,
Television Service (ITVS), provides incentive or matching
IFFCON,
to:
Dir.
books &
career development
publications,
to Sell Your
Send $46
fax:
LlnCS 2001
Contact:
Idea"
Exec.
Roy,
Stations),
commissioning edi-
"Pitch Perfect:
incl.
Somi
Broadway, Rm. 1206,
appl. contact
industries. Internet
film.
job/internship
& producers
& resources
to info
&
info
searches, as well as
on-line job
for
avail,
industry
Topics discussed by
access
free
& new media
pertaining to video
IFFCON
transcripts of 7th conf. avail.
access
tors
San
by
Community Development,
Francisco Mayor's Office of
more
Deadline: April 17. For
public
Single
television
shows &
& independent
stations.
pkgs
interstitial
producers.
be considered, as
will
bavc.org; www.bavc.org
9777; www.iffcon.com
will
CA CCH MEDIA PROGRAM PLANNING GRANTS
THE JOURNAL OF FILM & VIDEO seeks
pro-
& Video Association member
spaced pages
Temple University, Dept.
journal.
&
to:
to
pay
background research, consulta-
for
tions
14E Annenberg
ditional
molds
complex
of exploring
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cultural,
tra-
political,
films for
proposal
in
Arts,
development.
of
civic discourse
economic issues.
social or
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Indie film
are
Send approx. 5 double-
possible inclusion
Media
any genre or stage
in
written reviews
vides up to $750 to support development of major grant

of University Film
projects
Programs should stimulate
of Film
&
&
similar
activities
necessary to
reps, travel
develop
proposal.
encouraged
seek partnerships w/ their local public
to
television stations. Deadline: April 30.
Download
appl.
&
PA 19122;
Hall, Philadelphia,
Before applying, consult
w/ CA Council
for
Humanities
[email protected];
guidelines at www.itvs.org;

Deadline: Aug.
staff.
Resources
8xlOGLOSSY.COM: On-line
ing for
ory
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all
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co-op offers free
organizations
in
ing,
list-
s.a.s.e.
Jim
to
letter), free
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lighting
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16mm
computer
editing equipment,
in
in
good working
Donations of equipment are gratefully accepted &
order.
Stamford, CT 06902; www.8xl0glossy.com
filmmak-
art of
looking for donations of used
notebooks & screenwriting software
#1-6,
Ave,
schools
cameras, sound,
of bulletin board,
Greenwich
37
Lawter,
use
promoting
planning to establish filmmaking workshops
is
high
direct-
searchable database, free email address (can even
be forwarded by fax or
St..
tax deductible. Contact:
Dan
Blanchfield, Exec. Director,
(201) 444-9875.
911 MEDIA ARTS CENTER

grants of cash,
offers
two
Artist in
(415) 356-8383
x.
230.
MEDIA GRANTS AVAILABLE TO INDIVIDUALS & ORGA-
tion organization dedicated to
artists'
actors, technicians
Contact: CCH, 312 Sutter
CITIZEN CINEMA, INC.: 501(c)3, nonprofit arts educa-
Funds
1.
San Francisco, CA 94108; www.calhum.org
Ste. 601,
NIZATIONS
NEW YORK
IN
STATE: The Experimental
Television Center provides support to electronic

film artists
&
organizations
in
New
provide
must
finishing funds of up to $1,500. All cats. Applicants
New
be residents of
York state. Deadline:
March
15.
New
York. Deadline: ongoing.
Assistance Fund
is
designed
New
to
help non profit media
Up
arts
programs
ject.
Organizations must be receiving support from
in
base
in
The Media Arts Technical
York State.
to
$2,000 per pro-
New
Harvest-
Digital
to learn
more about composers who can be com-
works
working with new media
as an art form. The residency allows artists 3 months
We
provide presentation funds to nonprofit organizations
York State Council of the Arts

artists
media &
We
Residence
production services, and supplies to
emerging or established
York state.
Program. Deadlines:
Media & Film
Electronic
April 1, July 1
&
Oct.
1.
For
all
funds
contact: Sherry Miller Hocking, Experimental Television
equipment &
facility
exhibition of their
missioned to write & record compositions
access at 911, followed by a public
work
in
No housing assistance,
a gallery or screening venue.

i.e.
near
accessed.
& supports new
works.org
should
artists
MP3 samples &
projects.
live
Contact:
biographical
[email protected];
for various
can
info
109
13811;
(607)
www.harvest
org;
Seattle. AIR
media
ative
program
is
project-based
and innov-
installation artists, digital/web artists,
documentary & narrative filmmakers working
EASTMAN SCHOLARS PROGRAM:
in
U.S.
digital
formats. On-site facilities
incl. Final
or
ing suite; Avid
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suite; digital video
camera &
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production
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hands-on
BA/BS/BFA, MA/MFA
animation
film
for
Residence,
to;
911 Media
17 Yale Ave N, Seattle,
teachers. Seminars
laboration
WA
for
Arts,
Doc. Association, 1551
See
NY
w/
institutes tor college
incl.
&
university
in
col-
or 2 leading scholars. Institutes provide
nomination
S.
Robertson
&
CA 90035.
ideas
to
Detailed info
printed
Artist
Valley,
intensive collaborative study of texts, historical periods

to: Int'l
Blvd., Ste. 201, Los Angeles,
or
Newark
ENDOWMENT FOR THE HUMANTIES:
Summer seminars &
video pro-
studio.
Rd.,
etc@experimentaltvcenter.
in
in
15. For
Fairfield
687-4341;
www.experimentaltvcenter.org
NATIONAL
Univs.
may nominate two students
offer a
$5,000 scholarships. Deadline: June
light kit; digital
www.911media.org/projects/residence
guidelines send s.a.s.e.
&
(on-line); Pro Tools
form, write
jectors
Colleges
Lower
Center,
be
FREE SOUNDTRACK SONGS
in
film
98109. Deadline:
credits.
Professionally
if
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in
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directors.
gov;
undergrad teaching
&
in
the
humanities.
appl. materials are avail, from project
Contact:
(202)
606-8463; sem-inst@neh.
www.neh.gov
March
56
with 22 punk, rock, alternative, dance, love songs. Call
30.
THE INDEPENDENT
March 2001
NEW DAY
FILMS: premier
distribution cooperative for
THE ASSOCIATION OF [DEPENDENT

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Selected films receive assistance with postproduction,
SW
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in
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TECHNICAL
announces funding
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Contact: NYSCA, 915 Broadway,
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U.S.-MEXICO FUND FOR CULTURE, sponsored/funded

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COMMUNICATIONS
06600, Mexico
16,
call for
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proposals.
3rd
Fl.,
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Juarez,
(525) 592-5386; fax: 566-8071;
D.F;
(PIC)
[email protected];
announces Media Fund 2000
the
artist
Deadline: April 16. Contact: Beatriz Nava, U.S.-Mexico
Fund For Culture, Londres
PACIFIC ISLANDERS IN
the Arts (FONCA),
Everything
included.
www.fideicomisom
proposals for pro-
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grams intended
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in
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Awards
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particular-
examine & illuminate the
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scripting
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Research & development
phases may receive up
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fax:
VISUAL STUDIES
WORKSHOP MEDIA CENTER
Rochester, NY, accepts proposals on ongoing basis for
Upstate Media Regrant Program. Artists,
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ind.
its
Deadline:
May
more
info, call
Off-line
at rates the artist
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(716) 442-8676.
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Tel: (516)
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Contact: (212) 319-2910.
March 2001
THE INDEPENDENT
57
Gi
S)
'-!>
MONTHS PRIOR TO
to
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our
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THE INDEPENDENT
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March 2001
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FLYNT: Director
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of
at
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DIRECTOR OF PHOTOGRAPHY; Looking for
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Theo (212) 774-4157; pager: (213) 707-6195.
unit,
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line
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Newell
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AN OUTSTANDING DISTRIBUTOR seeks outstanding
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John
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tor
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rates (718) 782-9179;
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6730; (845) 439-5459;
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Beirut, El Salvador, Nicaragua,
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1325
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of reel, email:
&
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Fred
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in
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web work on
If
first
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contact
qualified
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clients.
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produced on the Internet." Please
digital feature
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new resource
currently presenting
is
WELL-ESTABLISHED
for
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the
(212) 243-1343;
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fiction
Diaspora.
African
contact:
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produce science
dent
EDITOR WITH AVID: Conscientious advocate

Invisible
HARLEM-BASED PRODUCTION COMPANY
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EDITOR WITH AVID, Beta SR DVCam, miniDV,

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long term //short term rentals
way
505-1911.
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Must have video samples/reel.
Robert LSeigel, Esq, (212) 333-7000.
Preproduction
ment;
16mm & 35mm.
Short films
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office equip, Beta, 3/4"
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in
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NYSCA, NEA,
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reasonable
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222.
&
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Wallace
all
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Mechanic:
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The Movie
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provide screenplay/treatment/synopsis/
films-in-progress
include:
(212) 598-0224; www.reddiaper.com; or
We
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Miramax & Warner
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Thomas (212) 625-2011; www.artstaffing.com
PICTURES
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We
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goes on behind the camera.
filmmaking
w/
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the crew
locations,
.
We
features, shorts,
incl. all
Providing ser-
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services,
craft
Basically everything that

specialize
independent
in
music videos.
Will
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international
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Civil
wars
extensive
in
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rates. (212)
all
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subways & Canal
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screening,
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ture
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editorial,
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Tom (201) 741-4367.
llll!Hili'im
March 2001
THE INDEPENDENT
59
~^\
rrr,
AVID EDITOR; A dozen feature
AVIO EDIT SUITES
""
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ONTRA
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frame
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DVD AUTHORING:
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212. 24-4-. 074-4
FAX
212.244.0690
ing
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W. 29
management. Spruce
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948-7985.
project
VOICE
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8, or archival
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are nice people and
very reasonable pricing. (212) 563-4589; 245
NY 10001
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EDIT/SHOOT
SAN DIEGO:
IN
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rates. Call
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FINAL CUT PRO: Rent
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hr access. 12 hrs b'cast quality storage,

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artists available: (212)

budget features to produce
budgeting/scheduling,
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in
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looking for low
York. Will
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personnel.
Video,
shorts and feature experience. Call Val at (212) 295-
7878
[email protected]
or
PRODUCTION TRANSCRIPTS;
based
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Low
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prices
standard
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1-on-l
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only $70: www.productiontranscripts.com
is
349-3022.
for details or calh(888)
for presenting
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AIVF
clients incl.
for
members. Contact: compression@randomroom
.com; www.randomroom.com/compression
SOUND ART FILMS/TIMELINE EDITORIAL: A
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Founded by a team
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Still
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DP
reel
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soundart;
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TWO CHEAP
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36GB, Upper West Side: (212)
579-4294.
UNCOMPRESSED
AVID MEDIA COMPOSER:
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amenities.
Blue
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Production Central (212) 631-0435.
60
THE INDEPENDENT
March 2001
Fastest
all
the
Photoshop,
projector,
too.
www.aivf.org
from the
aivf events
director
SO YOU HAVE A GREAT IDEA, YOU KNOW

what you are doing, you have access... you
go out on a limb to make your doc,
know
because you
you up in the
fired
place will resonate
first
on PBS, where
national playdate
prime -time screening
upwards of
a single
draw
to
six million viewers.
and
are slim,
in
likely
is
of a
PTV opportunities for independents
But
it
the door.
can be hard to get your foot

therefore
It's
that AIVF's Pitch to
PBS
surprise
little
next
sessions,
among our
occurring in May, have been
most popular programs. Preparing presen-
PBS
tations to
SESSIONS
HEALTH INSURANCE L0WD0WN
TUES., MARCH 6, 6:30-8:30
Meet reps from insurance agencies that
help AIVF members obtain discounted
rates on health insurance everyday. RBA
Insurance
and
dozens to
goals,
approach and pitch, and two
refine their
producers to get their shows on the
We
AIVF
at
are
air!
proud of our program,
and excited about new PBS head Pat

Mitchell's establishment of a
of Program
Film.
We
renewed
Development
hope that
possibility of truly
new bureau
& Independent
the harbinger of a
it is
interest by
PBS
in the glorious
Elizabeth Peters
office is located at
& Vandam)
(between Spring
about
how
Subways:
es hundreds
magazines
public.
WED. 11-9
304 Hudson
6th
fl.,
or 9 to Houston,
in
of print
ANTHOLOGY FILM ARCHIVES, NYC
7-13,
KiueWfwsK Wve
o n a
t
Manson
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New
York
or E to
and electronic
producers.
ed AIVF
Family."
gramming
parading
its
Don't miss the col-
AIVF
proud to co-present two panel discussions:
NYC
office)
PBS
senior pro-
staff to pitch their projects
and discuss
must be
Projects
at a rough cut or finished
eligible.
For complete
submission
details, log on to
www.aivf.org or contact (212)
807-1400
to
send
to
you
301
have an application packet
by mail.
dent
film.
Don't miss their nine days of
competition screenings along with a
ret-
rospective series, an off-beat midnight

series,
cial
and spe-
SMSUJ
premieres.
SXSWs
Film Conference offers the work-
ing independent filmmaker advice, infor-
March
Selling Your
10,
1 1,
Ass
The Skinny on
2-2 p.m.
mation and insight into how to get
made and
to
12-2 p.m.
and-coming
terrain of the
Television Sales
inspiration.
at the
necessary. FFI:
info: (212)
all.
www.aivf.org or
www.nyuff.com. For tickets and
map
independent film world
Look
for
AIVF
THE 2001 SOUTH BY SOUTHWEST

FILM CONFERENCE & FESTIVAL
SXSW
staff
on panels
512/467-7979.
festival
MEET & GREET ClNEBLAST!
THURSDAY MARCH
The
10-20TH, AUSTIN, TEXAS
cineBLAST! was
distribute
films.
the
video
15, 6:30-8:30
established in
This then-new venue
work
of short
1996
Film Festival annually show-
new
to
compilations of short
filmmakers
for displaying
(all
three vol-
became
so
successful
cineBLAST! rapidly emerged as one
umes)
cases the best
in
Conference. FFI: www.sxsw.com;
252-3845.
MARCH
and
out the complex
four days of discussion, discovery and
Archives (32 2nd Ave) and are free to
No RSVP
directors, film critics
industry insiders
TV:
a film
seen. Veteran producers, up-
Events take place at Anthology Film
operator on duty Tues.-Fri. 2-5p.m. EST
by INTERNET: www.aivf.org; [email protected]
of pre-select-
(at AIVF's
of the National
is
AIVF CO-SPONSORS:
(212)807-1400
number
meet
possible broadcast on PBS.
sample proposals & budgets.
BY PHONE:
will
the
NYUFF"some-
And here it is,
full regalia.
early May, a
In
members
significant oppor-
one-on-one meetings with
offers
members
with
most
of AIVF's
27
affect
where between Warhol's Factory and the

8th Year in
PBS
MARCH
Next Pitch opportunity: September, 2001.
dubbed
FMMra*M-
TUESDAY,
Emerging as one
tunities,
stage to be
AIVFATTHENYUFF
MARCH
Sunday, March
from essential directories & trade

to
members and general
IN-0FFICE DEADLINE:
PBS
to find the plan that's right for
you. Free to
Navigating Grants and Funding Options
Spring. Our Filmmakers' Resource Library hous-
and answer your questions
Spare Some Change?

hours: TUES.-FRI. 11-6;
resources
will
attend to present various options offered

to individuals
lection that defies convention!
independent work.
reachAIVF
City.
(CIGNA
Teigit
Health Plans), and Bader Associates
Saturday,
The AIVF
Strategies,
acquisition executives has
project
their
PITCH TO PBS
(212) 807-1400 x.301.
RSVP REQUIRED:
helped hundreds of members better articulate
3RD ANNUAL
UNLESS OTHERWISE NOTED, EVENTS TAKE PLACE

AT THE AIVF OFFICE (ADDRESS IN BOX BELOW).
that the things that
Maybe you dream
with an audience.
call for poroposals
that
of the
discoveries in indepen
March 2001
THE INDEPENDENT
61
Top
industry's
in
is
Companies
15 Production
New York. cineBLASTFs core strength

the identification and nurturing of new
producing
talent, often
first
The Foundation
for

Independent Video and Filmmakers (AIVF), supports a
variety of programs and services for the
of th e Association for
films as well
independent
contributing to the ongoing development

of careers.
cineBLASTTs
diverse range of material
includes: Desert Blue,
Dear
Bobby
Jesse,
MMppM
cineE!251
Swim
Kill
The Bunny show on
them out
free
including
and workshops, and information services.
None of this work would be possible without the generous support

membership and the following organizations:
at:
The William and
general public.
We
also wish to thank the following individuals and organizational
Members:
BlJSineSS/lndUStry
Co-Sponsored by Women Make Movies
for the Arts
New York Foundation for the Arts: TechTAP

New York State Council on the Arts

IN BRIEF: ADVICE FROM THE PROS
DISSECTING THE PBS CONTRACT
THURSDAY MARCH 22, 6:30-8:30
Eastman Kodak
CA:
T.

LEF Foundation
NYSCA
AIVF
New
Flora Hewlett
Foundation
www.cineblast.com. Cost:
AIVF members; $10
Check
IFC.
of the

Inches, and Spring Forward, along with
the Greg
media community,
publication of The Independent and a series of resource publications, seminars
Action/Cut Directed By Seminars;
members:
Dr.
Rawstock;
Co.; Film Society of Ventura County; Focal Point Systems, Inc.; Forest Creatures
Entertainment Co.; Idea Live; Marshall/Stewart Productions,
on PBS contracts with
Join the discussion
Robert
I.
Freedman,
a partner at
Cowan
DeBaets Abrahams and Sheppard, and
WNET-TV,
former general counsel of
New
York
City's public television station.
Since 1978 he has represented indepen-
dent producers, whose work often
He
public television.
airs
on
will present busi-
ness/legal issues in negotiating contracts
with and for public television including
agreements for production, coproduction
and
acquisition. Issues include copyright,
distribution
rights,
shares, clearances
Cost: $20
income and
and union agreements.
members of AIVF
$30 general
profit
& WMM;
public.
Inc.;
ProMax Systems Inc.; Somford
The Crew Connection; CT: Bagel Fish Prods.; DC: Consciousness Squared
Communications; FL Tiger Productions, Inc.; GA: Indie 7; IL: Optimus; MA: Coolidge Corner Theatre
Fdtn.; CS Associates, Glidecam Industries; Harvard Medical School; MD: The Learning Channel; Ml:
Entertainment;
Grace
&
CO:
Wild Studios,
Inc.;
Zooropa Design;
NJ:
Black Maria Film Festival; Diva Communications,
One Promotions, Inc.; American Montage; Analog Digital Intl.; Archive Films, Inc.;
The Bureau for At-Risk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra
Inc.; NY: All In
Asset Pictures;
Dependable Delivery, Inc.; DV8 Video Inc.; Earth Video;

Human Relations Media; Hypnotic; Inkling Prods.; Kitchen Sync Group, Inc.; KL Lighting; Mad
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OR: Angel Station Corp; PA: Smithtown Creek Prods.; TX: Rose Noble Entertainment; UT: KBYU-TV;
Rapid Video, LLC; VA: Bono Film & Video; Dorst MediaWorks; Roland House, Inc.; WA: Amazon.com
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Nonprofit Members:
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Fund; NAATA; Ojai Film Society; San Francisco Jewish Festival; U of Cal. Extension, CMIL; USC
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AZ:
of Arizona; Scottsdale
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Video Center;
HI:
Valley College; KY: Appalshop; LA:
New
Orleans Film Fest.; MA: CCTV; Coolidge Corner Theatre
Bow Group Inc; Lowell Telecommunications Corp.; LTC

Communications; MD: Laurel Cable Network; Native Vision Media; Ml: Ann Arbor Film Fest.; MN:
Bush Artist Fellowships; IFP/North; Intermedia Arts;' Walker Arts Center; MO: Webster University
Film Series; MS: Magnolia Indie Festival; NC: Doubletake Documentary Film Fest; NE: Nebraska
Independent Film Project, Inc.; NY: Center for New American Media; Cinema Arts Center; City
University of New York - TV Tech Program; Communications Society; Cornell Cinema; Creative
Capital Foundation; Crowing Rooster Arts; DCTV; Downtown Community TV; Educational Video
Center; Film Forum; Film Society of Lincoln Center; Globalvision, Inc.; Guggenheim Museum SoHo;
Hamptons Film Festival; John Jay High School; Konscious, Inc.; Manhattan Neighborhood Network;
National Foundation for Jewish Culture; National Video Resources; New York Film Academy; New
York Women In Film and Television; Open Society Institute/Soros Documentary Fund; Paper Tiger TV;
Spiral Pictures; The Standby Program; Stony Brook Film Fest.; Third World Newsreel;
Thirteen/WNET; Upstate Films, Ltd.; Women Make Movies; OH: Cleveland Filmmakers; Media
Foundation; Harvard Medical School; Long
Quarterly
NYC
film-
Ar Space
Open
Screening Forum for
and videomakers
in Brooklyn.
www.ocularis
.net;
AIVF
at
Galapagos
To attend/submit:
718/388-8713.
CO-SPONSORS:
AIVF members may

for just
$5 per ticket with card!
FFI: (212)
875-5600orwww.filmlinc.com
Bridges Cincinnati; Ohio Independent Film Festival; Ohio University-Film; Wexner Center; OR:
Communication
Arts,
MHCC; Northwest
Film Center; PA: PA/Council
Scribe Video Center; Temple University; Univ. of the Arts;
The Urban Generation: Chinese Cinema

in Transformation: Feb. 23-March 8
Rendezvous with French Cinema:
March 9-18
Ermanno Olmi Retrospective:
March 21 -April 12
62
THE INDEPENDENT
March 2001
Carolina Arts
Comm.;
TN:
Rl:
Nashville Independent Film Fest;
Film Society; Southwest Alternate Media
Project;
U.
of
On The
Arts; Prince
Music Theater;
Flickers Arts Collaborative; SC:

TX:
South
Austin Cinemaker Co-Op; Austin
Texas Dept.
Radio-TV-Film; Worldfest
Kingdom County Productions; Wl: UWM Department of Film

U of Wisconsin Dept of Communcation Arts; Wisconsin Film Office; Argentina: Lagart Producciones
Canada: Toronto Documentary Forum/Hot Docs; Germany: International Shorts Film Festival; India
Houston;
UT:
Sundance
Institute; VT:
Foundation for Universal Responsibility
(M
MA:
Contact: Brooke Maroldi, (414) 276-8563;
The AiVF Regional Salons provide an opportunity for
Boston,
members
Contact: Fred Simon, (508) 528-7279;
www.mifs.org/salon
[email protected]
New
Charleston, SC:
Contact: Allen Chou, (732) 321-0711;
to discuss work,
meet other independents,
share war stories, and connect with the AIVF com-
munity across the country.

www.aivf.org for more
Visit
info.
the salons section at
Be sure
to
contact your
and loca-
local Salon Leader to confirm date, time,

tion of the next
When:
Last Thursday of each
68 Calhoun
Albany, NY:
When:
First
Wed. of each month, 6:30
Contact: Mike
& Music,
Camoin
pm
pm
St.
[email protected]; www.passionriver.com
Palm Beach, FL:

[email protected]
[email protected]
OR:
Portland,
Cleveland,
OH:
Contact: Beth Harrington, (360) 256-6254;
Contact: Annetta Marion and Bernadette

Gillota at the
TX:
Anne
Brunswick, NJ:
Contact: Dominic Giannetti, (877) 378-2029;
Wolf Rd.
(518) 489-2083;
[email protected]
Contact:
6:30-8:45
Austin,
month
Where: Charleston County Library Auditorium,
meeting!
[email protected]
Festival
Rochester, NY:
Contact: Kate Kressman-Kehoe, (716) 244-
del Castillo, (512) 502-8104;
Dallas,
[email protected]
LiSJl
TX:
Contact: Bart Weiss, (214) 999-8999;

Atlanta,
GA:
of the month, 7
pm
Where: Redlight Cafe, 553 Amsterdam Avenue

Contact:
x. 12;
San Diego, CA:
[email protected]
Mark Wynns, IMAGE,
(404) 352-4225
Contact: Paul Espinosa, (619) 284-9811;

Lincoln,
NE:
[email protected]
When: Second Wednesday
of the month, 5:30
pm
Tucson, AZ:
Where: Telepro, 1844 N. Street
[email protected]
Contact: Dorothy Booraem, (402) 476-5422;
Contact: Heidi Noel Brozek, bridge@theriver.
Birmingham, AL:
[email protected]; www.lincolnne.com/nonproflt/
com; Rosarie Salerno, [email protected];
Contact: John Richardson,
nifp/
[email protected]
Washington, DC:
Los Angeles, CA:

Boulder,
CO:
Monthly
activist screenings:
When: Third monday
When: Second Thursday
March
of the month, 7
Where: Rocky Mountain Peace and

Center, 1520 Euclid Ave.
pm
Justice
19) at 8:00
of every month, (starting
Where: EZTV- Santa Monica

Contact: Michael Masucci, (310) 829-3389;
DC
[email protected]
AIVF has
x. 4;
resources to assist enthusiastic
who wish
own community.
their
Milwaukee, WI:
1400
When:
information.
First
Salon hotline (202) 554-3263
committed members
Contact: Jon Stout, (303) 442-8445;
[email protected]
Contact:
[email protected]
pm
Wednesday of the month
x.
to start
and
a salon
in
Please call (212) 807-
236, or e-mail member s@ aivf.org for
STUDIO
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In
the East Village
March 2001
THE INDEPENDENT
63
t'SfffiT-jTS^^H^^)
backgrounds, professions and nationalities
Donal O'Ceilleachair,
Union Square
Films, 32
North,
By Jim Colvill
New
York,
NY
c/o Fair Isle
#816
East, Ste.
10003; (212) 228-
is
new
an adaptation of Cervantes'
The
demeaning
keen to avoid
director was
"In
subjects:
his
that
fact,
work and seem
these people enjoy their
end of the day is remarkand made filming this project an
satisfied at the
able
Writer/Director Lance Peverley's

film Tilt
pations.
he
instructive, inspirational experience,"

says.
Buchanan
already in production
is
on
sequel
to
which will
uncover
more
strange
and un-
Geeks,
New
Year's
Eve 2000,
as
many
pre-
pared
to
pleasant jobs
celebrate
new year,
knew
the
New
Mexico
Daniel Kaven entered the
pany,
6939
Lane,
Dallas,
75214;
second phase of production
9696.
on his unusual documentary

The Glass Pool Incident.
the
The
Game,
first
year
Lyre
TX
828-
(214)
Seven years
phase of production
exactly
Bu-
existed.
chanan Film Com-
based filmmaker
occurred
that
you probably never
documen-
from
tary
in
Hand
making,
award-
before at the turn of the mil-
lennium and involved seversubjects
different
al
Willy
filmed in several different locations, such
New
as
York, Los Angeles, Berlin, Tokyo,
and Sydney. This widely disparate group

which included a gay sailor, a German
video artist, a rapper, and a small-time
coke
dealer, all
2001
at the Glass Pool
New
Year's
gathered at the turn of
Inn in Las Vegas
now
a year.
Kaven
is
tackling the daunting task of editing
100 hours of footage
and
for
Eve party and screening of
some of the footage from
is
down
to 100 minutes
seeking distribution. Daniel Kaven,
[email protected]
(505) 262-9660;
Director Donal O'Ceilleachair's 6-part
documentary, Cuzco: Chronicle of a City

at the End of the Century, also examines
and place
a particular time
millennium.
the
The
Running Crane
(I)
and
Earl Old Person,
two Blackfeet stick players, are interviewed
being
at the turn of
location
in
the
documentary Hand Game.
Don
told
Quixote with a difference.
Panza-like character,
film
is
Sam
Penzer,
who is
unemployed salesman attempt-
recently
ing to get
ever,
The
from the perspective of a Sancho
home
stranded
to suburbia.
He
is,
downtown having
wallet duting a transit strike.
how-
lost his
While look-
ing for a phone, he encounters a mentally
ill
the
man who
pair
believes he
embark on
through the
city's
was shot and
is
a knight,
and
night journey
mean
is
streets.
The
film
Vancouver, and
set in
numerous members of the
crew, as well as
the cast, are X-Files alumni.
Tilt
is
cur-
and Starstruck
funds so the movie
rently in postproduction
Productions
is
can tour the
raising
festival
circuit.
Contact:
winning Portland-based director and
his-
Lawrence Johnson, looks at a

team-based gambling game popular
throughout Native American cultures.
The film, which opened the 25th annual
torian
American
Indian
Film
Festival
last
November, chronicles how every year

thousands of Native Americans hit the
"hand game
trail"
competing
games on
Even
in
reservations throughout the west.
though churches and courts have continually
attempted to supptess the game,
it
has remained a widespread phenomenon

for
many
years.
Price says of
Native historian George
Hand Game
that
"it is
one of
the
Holly Catinci (604) 737-4776 or Tiffany
the rare documentaries that uses native
ancient city of Cuzco, capital of the Incas
Chester (604) 737-2556; tilt@hollyword-
voices exclusively without filtering the
in the
Andes highlands of
chronicles
Cuzco
(New
to
Peru.
is
The
film
how thousands descended on

commemorate
Year's
the millennium
Eve 1999), amongst them
information through non-Indian academ-
spublicity.com
Filmmaker
taste of
Bill
Buchanan, whose
first
working in film was an internship
ic interpreters.
experience
This gives the viewers an
much like
going directly to the
indigenous
the
and
with Sidney Lumet, describes his docu-
source
tioners
duced 76 hours of source material, which
mentary Geeks, S7teaks and Chicken

Cheeks as "the definitive guide to the
truly weirdest jobs on the planet."
Through the course of the film Buchanan
includes over 130 interviews with both
interviews a "chick sexer," an animal psy-
AIVF Members: Send info on works
some repo men, and some phone sex

operators among others, examining
exactly what their jobs entail, as well as
or recently completed works to: In
mystics and
the
world's
Machu
new
agers destined for
one of
meditational power points,
Picchu.
The
extensive shoot pro-
native Cuzquenians and foreign visitors.
The
its
film provides a mosaic of the city
inhabitants through these portraits of
different characters of all
64
and
THE INDEPENDENT
ages,
beliefs,
March 2001
chic,
their personal feelings
about these occu-
the
seeing
cultural practi-
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Johnson
selves." Contact: Larry
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to the editor tetters
in
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2001
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, administrative director;
Michelle Coe, program director;
James
Gates, information services assistants; Greg Gilpatrick

sultants;
legal
Israel
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Moikgantsi Kgama-
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I.
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Robb Moss
(president), Elizabeth Peters (ex officio),
(vice president), Ellen Spiro, Bart
Espmosa
(secretary), Jim
McKay
James Schamus*,
Weiss (co-chair), Debra Zimmerman*
*FIVF Board of Directors only.
web con-
intern; AIVF/FIVF
THE INDEPENDENT
April 2001
(treasurer),
(co-chair),
Valerie Soe
CineAlta.
Uta
The
director
and
his cinematographer,
Briesewitz, assess the experience.
by Patricia
Thomson
FAQ &
Upfront
7
News
42 Distributor FAQ
Landmark Theatres
Texas
in
finds a place for a local son's

shorts; reading the fine print
for AFI's
by
Info
Sony
DVCam
Fest.
The
in
new media and
traditional
distribution to bear
new
Cynthia Hand
Brothers Lipsky bring
their considerable expertise
Neely; Scott Castle
BY LlSSA GlBBS
46 Funder FAQ
Proprietary software finds
NewMarket
its
soulmate in Richard Linklater's
animated Waking
new media
Life;
three
spaces open in
New
on
their
venture, Lot 47 Films.
Capital has a
history of financing indepen-
dent
films,
and
this spring
started distributing
York City.
well,
by Brian Poyser;
Joy Dietrich
by
them
as
beginning with Memento.
Michelle Coe
48 Festivals
14 Festival Circuit
54 Notices
Open arms for digital video

at IFFCON; a report from
58 Classifieds
Sundance 2001: the

films,
vibe, the
the online festival, and
the Lab films.
@AIVF
Michael Fox;
Richard Baimbridge,
Karen Voss &
60 Events
by
Thomson
Patricia
63 Salons
Departments
22 Field Reports:
Buffalo,
New York
Micro
and public access
films
TV, plus
by
COVER: Actor and

cowriter Steve Gevedon
in
Brad Anderson's
Session
9.
Photo:
Claire Folger. courtesy
look at the numbers.
USAFilms.
Ghen Dennis,
Stephanie Gray, Carl
Mrozek
38 Technology
A review of the CineAlta,

Sony's High Definition 24p
camera.
by
Robert M. Goodman
40 Books
Movie Wars, by Jonathan
Rosenbaum; The
Biz,
by
Schuyler M. Moore.
by
Robert Nelson;
Innes Guminsky
April
2001
THE INDEPENDENT
JVC shoots,
akerswitKfWk
create.
new
idaries of film
Cineline.
Imagine neMPbeing held back again. Imagine the power to push
more of the budget where
the creative possibilities higher. .and the freedom from economic
and other equipment."
constraints that have kept your
JVC's
new
dream
projects
these filmmaker fantasies are
now
NTSC
winner
director of
who
chose D-9.
"Evirati,"
reality.
Vancouver International Film
Festival
both creatively and
advantages to shooting
in its
delivers outstanding
class
image
this lightweight, portable
quality
practically," says Capet,
combine to
new opportuniwho cites several
his lush, historical piece exclusively
let
Its
14-bit
format.
lenses,
matte boxes, tripods and more
complete range of professional accessories
on JVC's
in
all
you unleash the true potential of the universal MiniDV
both Professional
DV and
including
'
maximum
enables
creati
D-9.
"We wanted to capture the natural lighting of the 8th Century.

Some scenes were lit entirely by candlesthat would have been very
With JVC's new CineLine, the quality
grainy on film." Economically, D-9 allowed Capet^tb excel as well.
gone.
D-9.
"Given
camcorder
and creative power.
technology, full-featured performance and FireWire compatibility
"JVC's digital solutions give filmmakers tremendous

ties,
wardrobe
economy and portability, JVC introduces Cineu

most powerful MiniDV camcorder. Featuring 2/3" native 16:9 CCDs
unprecedented
Simon Capet,
actors, music,
For
products,
f
:
counts-
on the ground. With
CineLine D-9 and MiniDV PAL or
digital
it
my
20:1 shoot ratio, the cost of film stock
S40,00u-S50,000.
We
And the lower cost just

dream project take flight.
would have been
is
there.
The creative barriers are
could be the difference that helps your
spent S800 on tape. That allowed us to put
OL
It-
TUB
:
î"''-'
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\^
s*.L^
II
VP
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&
ill I'
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1-800-JVC-5825
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Cine^6B
Support
the organization that
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Since 1973, the
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Video and Filmmakers

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j-ssy/i
RICHARD BAIMBRIDGE
edited by
A Landmark Event
Houston Filmmaker 's Mini-Docs Pkry
in Texas
Landmark Theatres
of July
showing was
first
in
in
January 2001. Audience response cards
were overwhelmingly
Cynthia Hand Neely
by
month
Art Cars ran the entire
Houston. Austin's
Over 93%
positive.
liked the idea of having short films
added
program and 94-3% wanted
to the film
more Lone Stars. Two

have been shown
Houston and will also be
specifically to see
AS ANYBODY
TEXAS WILL GLADLY TELL
IN
you, the Lone Star State
One Houston filmmaker,

ing his
is
Real
big.
however,
mark by producing
is
Texas filmmaker Gary
L.
Watson created
more
the Lone Stars series to showcase short
big.
recently
films about local people.
mak-
Watson
L.
is
budgeted
is
using local filmmaking and local story-
Southwest
work of short filmmakers out of commer-
Houston
an indepen-
dent/foreign film chain with
theaters
running
is
Stars, a series of 1-2 minute films at

Houston and Austin Landmark venues.
and using
movie theater
Watson
to
head
line
Gish eventually sold Landmark on
years.
with producing countless commercials,

documentaries, and corporate programs,
as
well
as
A couple of years ago,

become
own company,
running his
Roadster Productions,
Inc., in
Houston.
that idea started to
The concept
for
Lone
Stars
make
to
is
and
films that "celebrate the diversity
hometown people
cre-
of real
"artists,
performers, social activists, and
His compact portraits focus on
who
are rarely seen, but
our community,
sometimes curious
and color
lead
lives,
enhance
fascinating
and add
and
In 1999, not quite ready to pursue his
dream of moving to a small Texas

town and renovating an old theater,
Watson began a doubtful search for a
neighborhood venue willing to support his
idea. When he met Sarah Gish, then
manager of Landmark's Houston theaters,
kindred
spirit
thetic ear for his cause. If
and
sympa-
Watson would
shoot some short films about interesting

local personalities, Gish,
who was
already
familiar with his work, pledged to support
him
all
the way.
[local
open
was a matter of perfect tim-
it
"We knew we wanted
know
to
marketing company in
film]
to interact with
community, but didn't
exactly where to start," she recalls.
"Landmark
is
very supportive of filmmak-
but unfortunately
it
doesn't
expendable income.
have
Projects/Administered
Still,
there are other
perhaps
movie
site.
The
subject of each film
example, aired on
film, for
Houston Independent School
Watson's
goal
initial
is
proven
here,
it
think
it
will
able
The
concept
shown
building art cars. She handpicks students
who "need
involved
ties]
a boost,
[in sports or
not be
other school activi-
and would benefit from inclusion
not to have one documentary
is
over the country, but to have
all
is
now
and
that's
backyard
to
me
what
few years ago, when
did.
get
to
my own
in
I
films
backyard,
looked in
my own
and
for subject matter, funding,
exhibition."
For now,
raising
more micro -docs

priority,
is
money
but he's confident
cessful. "I've
to
produce
Watson's number one
proven that
he'll
this
is
be suca viable,
popular project," he says. "And I'm excit-
their entry
won first
ed about being able to do
destined for a British Art
Landmark's participation."
Car Museum. The

to behold,
own
communities. "Some advice that
Houston
Art Car Competition,
and
in
in other
theory behind the Lone Stars
documentaries tailor-made for their

specific
in
to be
last year's
group project." In
prize
who may
hope
work with filmmakers
to
cities."
made, was to look
on
this a
have value
other markets," he says, "and
has four screens.
for nine years, has taught a class
make
to
successful series in Texas, "But once I've
looking for opportunities
who,
District
cable channel.
was given
art teacher
viable in different venues.
it
with six screens; Austin's Dobie Theatre

For his pilot project, Watson spotlight-
as
broadcast, or as part of an on-
The Art Cars

the
possible
are
we can offer." Like screen time.

Landmark Houston has two theaters,
things
ed Rebecca Bass, a high school
to the city."
ing.
flavor
original
he found
Houston)
Landmark
left
like
people with out-of-the-ordinary voca-
"people
(who has since

Gish Creative,
its first
According to Gish
exhibition venue.
ers,
ativity"
tions."
Watson's idea, and Lone Stars had
the
a reality.
PBS
can make
about 25
for
Watson began his career as a TV

news cameraman and has been occupied
other venues for the Lone
feels
series
local
reach out to the community has been percolating in Watson's
Mary Lampe, provided
led by
Sponsored
Stars
idea of showcasing local people in
short films
Project
arts organization in
Grants program.
Lone
The
media
nonprofit umbrella for Lone Stars through

its
Watson
the country,
across
Media
Alternate
(SWAMP),
theaters for years. In collaboration
cial
Production Fund was an enormous boost.
mountable obstacles that have kept the
with Landmark Theatres,
his pilot (each film
about $13,000), but
at
$5,000 grant from the Texas Filmmakers
seemingly insur-
telling to get past the
in
shown in Austin.
Watson self-funded
small.
Cinematographer Gary
the series
in
cars are indeed a sight
and remarkably,
in less
than
two minutes, Watson captured the story
Cynthia
Hand
Neely
f(
it
and
to
have
'[email protected])
a Houston-based freelance writer/producer
screenumter. She
is
president of
Women
tn
t.<
and
Film
and Television/Houston.
and the emotion the students experience

through the program.
\r
.,l
2001
THE INDEPENDENT
We
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Foundation
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is to

and filmmakers and
of independent
and
to
for
video-
media by providing
and democracy
in the
services, advocacy,
AIVF promotes
diversity
independent
communication and
expression of ideas and images.

1 The
Association
is
an organization
of
and
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independent
The Association encourages
and independence;
filmmaking
economics
is
it
excellence,
commitment
stands for the principle that video an
more than
just a job, that
it
goes beyond
human
values.
efforts of

is
for the continuing
growth
of
filmmaking.
limit its
ideology, or aesthetic, but furthers diversity of vision in

artistic
and
as valuable,
vital
film
is

exhibition of this
work
to the
community
at large.
GÊi)
THE NOT SO FINE PRINT
finished
Scott Castle
by
"Read some-
goes,
carefully
thing
explains
is
with
doesn't say marketing."
ways
by The Independent, both Sony and AFI
there
both
attest
the
to
[marketing]
"I'm sure
mean,"
offers
unless
if
the tape
it's
is
New
The Cinema
perpetuity for
all
He
fps
on high end
systems and
full
digital
24
non
ADR
or
30
linear
It
contact us for
more
information.
"but
want
to
explains that a bet-
the usage of the film to
rights in
renew
to
contain
clips.
An
option
the contract at a later date
could
also be included.
not limited to internet rights)"

Excerpt from AFI
design, foley,
stipulations limiting the time frame and
markets (including but
for projects
offer full audio
York-based
Guild,
selected to win a prize award,
Sony and AFI retains nonexclusive
sound
We
what they
ter-worded agreement would
whether or not
film.
contacted
spelled out, you don't
take the chance."
selcted for television
on
Michael Tuckman, Director
of Acquisitions at the
distributor
"The undersigned agrees that
When
specializing in
declined to comment.
While one
inherent wisdom in
is
mar-
to
it
didn't say that.
up
can
said tape
like just using
ket the piece
street."
is
they
to your benefit
it" is
"Look
hereby submitted
not their
or
something more benign and
before you sign
before crossing the
exhibition, regardless of
"Whether
Katz.
intention
facility
and audio post
services;
and
AS OBVIOUS ADVICE
are a
picture
DVCam Fest
AFI Sony
Entering the
We
"They
DVCAM Fest entry form
are
taking a potentially very
important right away from you," explains
such statements, they're often ignored.
But
like
way
SUV
an
reversing
down
a one-
seemingly innocuous line in
street, a
a lengthy contract
can
you with unex-
hit
Recently the American Film Institute
AFI Sony
DVCam
which the grand
Sony launched the

Fest,
prize
contest
in
winner receives
$50,000 in Sony professional equipment
and has
and
val
their film
at
NAB,
shown
at the
AFI
festi-
along with four other
category winners. But a closer look at the

"Rights and Clearances" section of the
entry form reveals that you might be giving up
form
more than you bargained
states that "regardless of
not said tape
is
award, Sony and
selected to
AFI
for.
The
whether or
win
a prize
retain nonexclusive
This could be potentially devastating
any
film- or
to sell their
videomaker who had plans
work
at a later date. After
he
saw the entry form, filmmaker Steve Katz

expressed concern over unintentionally
giving up the rights to one's film.
ine
like
"I
imag-
that any distributor that might be
interested in [our] film
vous that a
rival
your
would be very ner-
entertainment company
Sony can exploit
this
anyplace,"
film,
demand
they are probably going to

a requirement that
exclusivity,
When
can no longer be met."

agreement saying the
This
is
rights are exclusive.
from potential
to protect Strand
lawsuits from licensees

er)
acquiring a
Gerrans asks filmmakers to sign an
if it's
(e.g., a
broadcast-
discovered that the film was
already exhibited.
If
such a
suit occurs, "I
would then turn around and sue the producer or director or whomever
rights from,"
Gerrans
got the
says.
In order to avoid unwittingly squandering the rights to a project,
make
you read everything before you sign
certain
it.
This
particular contest exemplifies a contract
that takes
more than one might
expect.
Legal terms can often confuse the uninitiated
rights in perpetuity for all markets."
for
for
film,
pected consequences.
in conjunction with
Jon Gerrans of Strand Distributing. "If

you are lucky enough to find a distributor
realize
for instance, those
who may
means
perpetuity
that
not
forever.
Reading your contract
carefully, or enlist-
ing the aid of a lawyer
if
stand something,
"Once you
is
you don't under-
essential.
sign that contract, that's
reminds Katz. "They have
it,"
a legal right to
use that film forever and ever. There's no
term
limits.
A contract
is
Scott Castle
is
a contract."
assistant editor of
The Independent.
April
2001
THE INDEPENDENT

ARRIFLEX CAMERAS IN SMALL CUSSES DESIGNED
"CARPE DIEM"
NEW YORK FILM ACADEMY - new YORK city

UNIVERSAL STUDIOS
DISNEY-MGM STUDIOS

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-
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KING'S COLLEGE
london, England*
'SUMMER ONLY
All
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not affiliated
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NYC
10003
tel:
212-674-4300
fax:
212-477-1414
web: www.nyfa.com
JSf-21 -^SJ-^S-
r_iu
rather than recruiting computer whizzes.
The Revolution
Is
Waking
Be Animated
Will
Life a
for Indie
Wake -Up
and Dreamworks to
create the most photo-realistic computer
like Pixar
animation
Call
Bryan Poyser
the end
ends up being more
it
Sundance, the question on a

ple's
minds these days
Tommy
Richard Linklater,
Boh Sabiston touched

Waking
the opposite extreme. We're looking for individuality and expres-
and
sionism. If a bus goes by while
Pallotta,
off a revolution in
we're
produced,
fully
and no.
yes
is
And no, because
attempts to imitate
and there
this
aesthetic
narrative.
That
Stills
Waking
and so
Richard Linklater's
Life,
Life
Linklater
or
which debuted
said,
we
while
Sundance.
at
with shorts
pads and pressure-sensi-
wait for
as
interpola-
tion function allows the
at the potential
once again,
An
tive pens.
has for inspiration.
computer
several
he was ten
to
carry the
animation over
following
frames,
natural
the
years ago, ahead of the curve of indepen-
motion of the footage and freeing the animator from having to draw each frame
dent filmmaking. Slacker touched off a
separately.
is
wave of idiosyncratic regional filmmaking,

sending hundreds of young people into
the streets to
make
films
and the places they

have the same
kids
their
to
streets,
effect,
Waking
Life
may
only sending those
desktops instead of the
inspiring
them
to
pour their
thoughts into animation rather than live

action. If
anyone needed more proof that
There
is
more of
3D
the get-go.
He
really
was
was
originally designed
just
for
an
MTV
piece of software that would let you scan
footage onto the computer and

trace
on top of
it
The
have been covered over with
ers of sophisticated artistry.
The
lay-
film looks
handmade, not cheap, taking 2-D animation places that 3-D is too clunky to go.
Sabiston's
homemade
software
pro-
gram, nicknamed "Rotoshop" because
it's
based on the old concept of rotoscoping,
works by loading
puters (Macintosh
DV
G4s
footage onto comin this case), then
tracing over the footage
using
Wacom
wanted, and so
would be
you
let
deadline [for
couldn't find the software to do
with a minimal crew and mostly non-
to
planning on buying a
compete with commercial

Hollywood, this film is it. Waking Life's
extremely low-budget beginnings (shot on
actors)
it
contest.
the contest] was coming up
ual artists to
from
utilitarian
ily
M.I.T
kept the user interface as simple as
used by people
most
artists,
it
the -basement
affair.
But take a look

level
who
program
are
first
to be eas-
and
fore-
not computer animators.
Linklater, Sabiston,
and
Pallotta
interested in finding people
who
were
could
apply principles of painting and illustration to a time-based
medium
at the tools:
like
film,
prosumer-
cameras and computers that are eas-
within the reach of an independent
thousands of hours rather
filmmaker;
than millions of dollars created the

production value.
The
film's
31 animators
who
on the project
were paid very little but kept coming back
because of their love of the project and
worked
for nearly a year
the freedom they were given to shape the
ware sure to come, making
Media Lab. Once work began on the far

more sophisticated Waking Life, Sabiston
possible, intending the
wasn't exactly a built-in-
beginning, so
it
cameos by
Steven
Soderbergh, and Linklater himself, while

companies like IFC Productions and
Thousand Words were behind it from the
what
to do,"
their fair
Hawke,
film.
says Sabiston, a graduate of the
still
Ethan
decided [designing]
fun computer project
Life features
and
fast,
had
festival circuit
Snack and Drink and
like
Delpy,
Julie
ily
complete a project
"I
look at times.
Sabiston's software
the tools of the digital age allow individ-
DV
on the
Roadhead. Waking
also a layering func-
tion that gives the animation
about themselves
lived.
is
Sabiston and Pallotta, an Austin-based

live-action filmmaker, have
share of success
idea-driven
its
of nowhere. Linklater
independent animated feature,
collab-
its
this
an established indie icon and
from the Rotoshopped
will likely fail,
it
we can look
the imitation,
our
in
mind, however, that
in
came out
will
the kind of
is
either by shying away from
Waking
Keep
can only be made once. All
film that
We
great.
that's
wasn't a low-budget film that
computer-animated
inevitably be a second, a third,
orative
Yes,
independently
first
feature film in America,
on.
filming,
want background noise

animation."
the
it's
it's
peo-
Life?
The answer
because
much on
about flaws. We're very
independent animation with their new

film
not
is
pixelation
perfect
Austinites
lot of
Have
is:
artificial
because the real world
well-received premiere at
its
or
hair,
blades of grass look perfectly real, but in
about
After
Pallotta.
says
possible,"
"They're obsessed with making
Animators/
by
among
almost a compecition
"There's
companies
With advances
more
in
animation
it
soft-
cheaper and
accessible to the masses, there
sure to be
effect
somewhat of
is
a democratizing
perhaps not unlike the DV cam-
era and desktop editing revolution.

"I
hope we see more independent com-
puter animation films coming out in the
next few years," says Linklater. "But at

this stage,
do.
it
isn't
Even though
an easy or cheap thine
to
Wiifcny Life cost signifi-
cantly less than something like Toy Story,

it
would
still
be hard for an individual to
make. Bob was years ahead of everyone

else
because he's been working on
\r
.,l
2001
this
THE INDEPENDENT
11
rf_*i
SUMMERS ARE INTENSE NYU
and improving the
for so long
[project]
^D
-Û_
technology as he goes."
what
So
is
about
specifically
it
much
Sabiston's software that shows so
was already shot
potential? Since the film
and edited before any animation began,

could be considered just
software
the
another postproduction
tool, like
or opticals or AfterEffects. But
timing
a tool
it's
that completely re -defined the film, tak-
ing
it
out of
and bringing
humble
its
DV
beginnings
into a world of imagina-
it
Computer-aided rotoscoping
tion.
showing up
briefly in
films, like Fisher Stevens'
comedy
Just
underground
new romantic
and Esther
Kiss
even
is
other independent
festival favorite
Bell's
Godass.
It's
not a hard effect to create, and the concept of drawing over previously pho-
tographed images
making
is
almost as old as film-
itself.
Sabiston
is
considering plans to release
the software commercially, possibly posting
downloaded
for a
Meanwhile, everyone from film
stu-
it
fee.
on
a website to be
dents to advertising agencies and production companies are excited by Waking Life.
Which
brings us back to that problem of
imitation.
date
is
The most
egregious example to
TV
the Earthlink
ads that
many
mistakenly attributed to Sabiston &. Co.
The producer
initially
of those commercials had
offered
Earthlink job
the
Sabiston and Pallotta,
who
to
declined, since
they were concentrating on finishing the

film,
but a series of ads was produced any-
way. Sabiston considered suing the pro-
duction company, but lawyers told him he

had a weak case since it was a style that
was copied, and not the actual software
that had been stolen.
Waking Life's standing- ovation premiere
at Sundance put everyone in a better
mood, however. And one could say that
the animation revolution the film promises
is
already happening, as a few of the
animators have already started working
on
their
own animated
the success of Waking

find another place to
jects,
raise
shorts, inspired
Life.
by
They'll have to
work on
their pro-
though, since the G4s were sold to
enough money
to bring
all
the ani-
mators to Sundance.
Bryan Poyser co-founded the Cinematexas Short
Film Festival and works as conference coordinator for
SXSW.
screened at the
12
THE INDEPENDENT
April 2001
His newest short, Pleasureland,
New
York Underground and
Ann
<^z
5)
promising Media Z has corporate muscle
behind
New Museum
Eye Spy a
New
Media
Sees a Housing
New York City

Joy Dietrich
Boom
in
by
coming from Zenich Electronics
it,
Company (hence the "Z" in Media Z).

Though the basement space is sleekly
designed by the celebrated architectural
known
firm Lot/ek,
for its innovative use
of industrial objects, at times the space
somewhat
feels
like
promotion
for
Zenith products. At least the products are
New
for
included
Eyebeam, and, if approved, Eyebeam

would then take on the project at a cost
media art received a boost of

recognition when the Whitney Museum
for the first time in its Biennial
it
example, can submit a proposal to
casing the latest digital
experimental
art,
video and sound works, and importantly,

the center
most American muse-
last year. Yet,
being put to good use, however, by show-
to the public.
free
is
Large,
commit-
bright- orange buoys are used as seats to
ting curatorial resources to electronic
view experimental video on Zenith's high-
ums have
and
still
been slow
in January 2000)
ceiling to absorb noise
com-
such
pared to their counterparts in Europe
and Japan. But
if
New
York City
any indication, American
may
commands overseas.
new media has managed
already
Thundergulch, but
York
In the
essentially
By
York's
Eyebeam
museum
foot
in
space
is
from
scheduled to open
of 8,000
square
feet,
carved out of former truck bays, opened

as a
preview space in February. In addition
to the traditional repertoire of exhibition
spaces, gift shop, restaurant,
the future
theater,
museum
will
and archives,
house a sizeable
conceived with the help of com-
poser Philip Glass, as well as production

studios,
according to Angela Molenaar,
Eyebeam's director of special projects.
Independent filmmakers should take

special note, because the production stu-
dios will consist of a

sion,
sound
studios,
ments relevant
means
to
moving images diviand other depart-
to the production of
Filmmakers
media.
add special
seeking
commercial postproduc-
five
stations.
The New York Center
Coming up
tion facilities.
particularly the tech industry, are
2004/2005. Meanwhile, a temporary
exhibition
computer
for
new
West 21st Street in the Chelsea area of

Manhattan the hotbed of New York's
is
Contemporary Art
the third newcomer, making
Atelier [www.eyebeam.org], a
and
of
museum will be no small challenge, however, at a time when the economy, and
SoHo -based new media arts organization.

The future museum will be located on
gallery scene
can also be viewed from
Media Z Lounge at the New
with the financing for the $40 million
nothing of the kind before.
square
below that of standard
New
the most ambitious project
far
90,000
Harvestworks
Media Arts [www.nycmediaarts.org]
museums, where there was
arts
far
Museum
as of this year,
organizations such as
and the Moving Image Gallery
Viewer participation at the
to get expo-
New
Web-based pro-
by the center in conjunction
Rhizome.org,
it
boast the creation of three
will
media
like
lines the
Breitz's Babel Series, the
new media
with
sure primarily through video/film festivals
and "alternative" spaces
Candice
jects curated
new media
both the respect and financing
past,
is
monitors.
from sound works,
center's debut exhibition.
be on the road to gaining
finally
as
TV
foam
flat-screen
Steel-colored egg-carton
Beecher Center,
tion being Ohio's
and
definition
(the notable excep-
digital arts
which opened
in
new
low-cost
effects or animation,
show-
its
debut
is
this
May. The center
is in an old printing facnicknamed the Phun (as in "Fun")
tory,
Museum
ing signs of slowing down. Undaunted,
Factory,
near the
be no real
Queens.
fund-raising events or capital raising held,
investors
Backed by Korean private

and curated by Yong Woo Lee,
hopes to attract a more interna-
Molenaar
as
we
will
city of
As
"There
says,
will
probably float a bond with the
for
government funding, Eyebeam
can be sure there
will
be very
little.
The
general lack of public funding in the U.S.

for the
arts
many, but
has been a sore point for
it is
new media.
especially so in the field of
"It's
definitely easier to get
Anne
to Shanghai.
NYCMA's
inaugural exhibition will be
title
whereas "in the U.S. we're forced to

private donors or corporate spon-
sorships," Ellegood says.
Media Z Lounge did just that. The first

new media centers to open its
doors last November in SoHo, small but
of the three
will also offer glob-
coordinating with universities from Seoul
Maple" (a
of
the
June Paik, the father of
museum
the
art,
housing
in
education programs in new media,
Europe [than in America]," says
new media
Ellegood, assistant curator of the
on
al
on
for
Contemporary Art's
Media Z Lounge [www.newmuseum.org/
medialounge].
Germany's
ZKM,
Canada's Banff Centre for the Arts, and
Japan's Intercommunication Center are
well-supported, and have been around for
rely
video
Besides
Nam
centered
New Museum
years,
crowd.
archives of
pro-
government funding
jects in
NYCMA
tional
New York."
PS.
theme
the
"Electronic
that juxtaposes the inani-
mate with the animate). Invited
Nam June
including
Fujihata,
will
Paik, Japan's
artists,
Masaki
and Diana Thater from the
U.S.,
explore a discourse of nature in the
language of the
sure that
it
will
digital.
And
you can be
double as a house-warm-
ing party tor an art form that has been our

in the cold far roo long.
Joy Dietrich
is
New
York-based journalist
and filmmaker. Her first short film. Surplus, was

shown at Raindance Film Festival in London and
Los Angeles Short
\pnl
2001
l~'ilm
Festival,
among od
THE INDEPENDENT
13
would' ve been otherwise impossible. But

in the end,
Embraceable You
Open Arms
Digital Video Finds
y
the Sundance Film Festival
If
it's
about
story,
drama, pathos,
and strong characters."
Mark
IFFCON
Michael Fox
at
Fichlander,
director of
Court TV's senior
development and internation-
co -production, described
al
how
have changed since
his years at
Geographic,
wasn't
"If
it
on
things
National
film,
we
is
barometer of the current state of inde-
pendent filmmaking, the annual
Top: An array of clips from recent digitally
Inter-
shot feature films
Financing
Film
national
Conference
was presented by Next
Wave's Peter Broderick.
(IFFCON), held the previous weekend in

San Francisco, offers a glimpse into the
future. A mecca for projects at every
(I
to r) Film Transit's Jan
Rofekamp meets
with filmmaker Rob Epstein and producer
Michael Ehrenzweig at IFFCON 2001.
stage from concept to
postproduction, IFF-
CON
matches
independent
60
DIGITAL FEATURES
AT IFFCON 2001:
U.S.
producers with representatives
from the-
Kelly Anderson, Every
distributors,
atrical
and
networks,
cable
European
these
Katie Cadigan,
television
Many
broadcasters.
films
will
to
amidst
period
extraordinary
Fire in
Jeannette Paulson Hereniko,
to 35 mm)
the Womb (mini DV
Crook
Howard, By Hook or by
Silas
Tupperware:
Laurie Kahn-Leavitt,
Plastic Empire
Earl and Brownies
(Beta SP or DigiBeta)
the rapid rise of digital

Nancy
dis-
cussion topic this year,
and one theme emerged
programmers
now embracing
technology
that
shoot
Lee Project
Grace Lee, The Grace
more."
interviews
are
Glidermen of
Jack Mcdonald, The
representatives tend-
the
Neptune (Beta SP)
ed
Glass
K Louise Middleton,
Skalski.
Lisa
DV Widescreen)
HBOs
director
film-
independent
Julia
Reichert, A Lion
in the
other industry
end,
concur with
to
(mini DV)
reported,
mostly digital within a
Conscience:
Barbara Rick, In Good
Gramick's Journey
Sister Jeannine
been
declared
CEO
Yvonne Russo, True Whispers
Ira
Deutchman
(Wayne Wang's Center

the
of
World) in the keynote
"Ten
years
from now, everything

be
digital."
part,
will
Agreeing in
producer Mary Jane
Skalski
(Frank Whaley's
The ]immy Show) responded, "There's no reason for
14
THE INDEPENDENT
(Beta SP)
we
DanSatorius,LeJeuDeAfarse///es
And
haven't
for-
normally
I
do.
can think of
many
cases
w here small-format
so
(mini DV)
Technical
Scott Saunders, The
Writer (W format TBD)
has allowed a film-
maker
The
Yue-Qing Yang, Footbinding:
Golden Lotus (mini DV)
SabrinaZanella-Foresi.fre
& mini DV)
Future (16
of"
to capture a
story with a level of
Three Inch
fAe
intimacy
mm
April 2001
"I
in a situation
mat would prevent

us from doing what
.theTarotCardofVarianFry
discussion.
and
where a small
DV)
of Faith (mini
of
family programming,
world, we're going to be
Studionext president and
Heller,
documentary
House
weren't interested.
Especially
Now
anything goes.
with the crime and justice
genre, there's a multitude of sources," he
throughout the week-
(mini DV)
Jesse Moss, Speedo
years,"
any-
Taylor
Jennifer Maytorena
Comrade Yankee (mini DV)
ing the last few years.
few
to
film
In
(16:9
the
on
(mini DV)
makers have been push"In
documentaries
Art to the Rescue?
My
Funders
and
Kelly,
(mini DV)
from the conjecture and

uncertainty:
v*
<?
(mini DV)
of
techno-
video was a favorite
Cam)
Girls (DV
be
Naturally,
logical flux.
Waxter
Liz Garbus,
months,
24
Looney Tube (HDTV)
of
completed in the next

12
Mother's Son
(DVC Pro)
access
and
that
said,
noting broadcasters' willingness to
even low-resolution footage shot by
air
surveillance
"People
and
traffic-light
make allowances
for a
cameras.
wide range
of visual quality. But there's an annoyance

factor to
bad audio," he cautioned.
"In the U.K., we're slightly behind in

area," conceded Gayle Oilman,
Channel 4's director of co-productions
and programming. "Most of our docs are
shot on DigiBeta." Citing the rapid adoption of nonlinear editing, Gilman sees a
and
similar path for digital production
this
just in time.
"Ad
more networks,
dollars are spread
among
so there's less money, so
budgets are being driven down," she
said.
documentary makers have

always been the first to adopt innovations
such as lightweight cameras and videotape, feature filmmakers have wasted no
While
time in joining the recent stampede to

cost-effective digital video.
But aesthetic
considerations, not budget, should be the
determining factors in ascertaining which
Deutchman
shooting format to choose,

said.
SON VIDA PICTURES
"Every project has to be sized up
41
from a creative standpoint." Rebecca
Wyndham,
senior
VP
UNION SQUARE WEST

NEW YORK CITY
of production of
Film Four's American division, was even
more
been pitched
strident. "I haven't yet
a project that the filmmaker
on doing
imposed
in
DV on someone
certain budget.
insisting
is
nor have
video,
digital
conform
to
to a
won't support the blan-
ket idea that one can shoot any project
212 242-9585
DV] in order to bring the budget

down and get it made, because not all
[in
content lends
itself to
medium."
Next Wave Films
that
Peter Broderick of
simultaneously illustrated the range of

the format encourages and
artistry
its
acceptance by distributors with a program

of clips from 10 digitally produced features.
The
Ripstein's
Dogme
fourth
Mexican
and
Alive,
The King
film,
first digital film,
Is
Arturo
master
Such As
Judge Us By the
Collections
We Keep
Life,
could pass for film and will have no prob-
lem getting
distribution. Pioneering low-
budget American indies such
(bought
by
the
as
Boxes
Independent
Film
Channel) and Big Monday (an urban
tale
comprised of one long, extraordinarily

mobile take) are not only well-made but
technology
the
utilize
ways
in
that
promise a reinvention of cinema as a truly

intimate art form.
Guy
Stodel, vice president of acquisi-
Gate Films, agrees with
tions for Lions
HBO's
Heller that the story
far
is
important than the look of the
film.
more
"The
movie has to play and have a hook. In the

indie
arena,
already targeting a
you're
sophisticated audience, so they wouldn't
pooh-pooh the look of video
Deutchman
today."
concurs. "For certain kinds
of movies there's a need for eye candy,
and we
still
something
don't have the ability to

as
35mm. But people

any kind of image
audiences pay as
make
as
on
as long as
I
much
it's
consistent
just don't think
attention as we'd
they do." That's the real
like to believe
line:
DV
are willing to accept
from scene to scene.
bottom
on
beautiful
When
accept digital
paying customers
video without blinking,
then distributors, broadcasters, and pro-
grammers won't
made with
HO T
hesitate to bankroll films
the format.
Michael Fox
is
A Sekani Company
a San Francisco
journalist
and
film critic.
Ph: 212.799.9100
Fx:
212.799.9258
clips^filmclip com
www.hotshotscoolcuts.com
&
April
2001
THE INDEPENDENT
15
g^seees
ever held a shabbat dinner hosted by a gay
rabbi.
shame I'm
It's
sexual, because
Indies: 1, Hollywood:
wanted
come out
to
unfortunate thing
The Sundance Film
back
Festival gets
African American
to basics
by
Dunye's Stranger
owed by
Richard Baimbridge
all
exception was
have
never seen such an out.
its
crop
of
films:
John Cameron Mitchell's

Hedwig and the Angry Inch,
Michael Cuesta's
L.I.E.,
Richard Linklater's Waking

different every year,
and yet
which succeeded in getting
This was not a good
on Sundance 2001.
more focus on
chaos or a Vegas-style jackpot for
shift in
distrib-
make
that will
(though
office
and
a lot of
Angry Inch
the
money
my suspicion is
will
box
Hedwig
at the
that
be a glowing
exception) and also for celebrity/studio-
Donnie Darko producer
films.
Valentine star
Ryan Gosling. In that sense,

Sundance 2001 was a proud moment for
indie film, which boldly re-asserted its
reputation for excellence and controversy.
On that note, in the spirit of The
star
utors and filmmakers.
Distributor bids were remarkably low
compared to recent years. Todd Field's In.

the Bedroom fetched a tepid $1 million
deal from Miramax despite its festival
buzz. By the end of the festival, the largest
acquisition was David Siegel's The Deep
$4 million from Fox Searchlight.
Meanwhile, this was the first year that
for
Sundance featured an online component

absence of dot-
[see story p. 19], but the
com hype was
noticable.
clearly
One
could even say that the absence of any
hype was
clearly noticable. Part of that
Lola Cola
(left)
and Robert Eads
in
Story Award winner.
Independents Sundance awards
and Henry Bean's Dramatic Grand

winner The Believer are just a
Prize
Jury
Life,
few examples.
And
they are films that get
to the very essence of

all
what Sundance
Added
to that
Slamdance, which
is
was the
fact that
a traditional fixture
on Main Street the very heart of

Sundance headed high into the hills to
a bigger, better venue, leaving a
hole in
its
The
former place.
felt like
a ghost
even the
festival
being that Park City

at times, causing
vacuous
result of all
wonder what went wrong.

Yet, according to both Sundance and
Slamdance figures, theater attendance
has never been higher. And in my three
organizers to
THE INDEPENDENT
April 2001
list.
I've
but everyone
there were the docs: Kate Davis'
Southern Comfort, Trembling Before
Tom
G-d by
Shepard's
Honor, and Dogtown and Z-Boys by
The
skateboard legend Stacy Peralta.

competition
tors
downright
of
Sundance,
usurped
direc-
stiff this year, it
was
fierce.
Although
year
among documentary
was more than
it
in
was supposed to be the
by
my
is
American
films
opinion that
title
films
with
at
was
gay- oriented
themes. Practically everything
So here
a film that
saw had
list
that
like to
keep
my
very
goes:
think
is
thinks
else
genius. Last year
it
is
a total bore,
a
work of
was Ken Lonergan's
Can Count on Me. So this year's You

Can Count on Me Award goes to Todd
You
Field's In the
Bedroom.
Can Count on Me,
you'll
film. Personally,
was
If
you liked You
probably love this
sitting in the audi-
ence, thinking to myself, "Any kid
wears jeans
African
would
come to accept that every year
there
Scout's
all.
own awards
in general.
Then
the tradition alive by providing
cepts not just of Hollywood, but of society
and movie posters, slapping

if they were caught passing out propaganda, so at times it was
hard to tell there was a festival happening
flyers
people with fines
has run in past issues,
is
about, because they challenge the pre-
Sandi Simcha DuBowski,
outdoor
Kate Davis'
Southern Comfort, our Transsexual Cowboy Love
was because Park City instituted a ban on
16
however, for
year,
Hollywood, both in terms of finding films
Mitchell and neophyte actors like Believer
thinking, with
town
notable
than on being a carnival of media
notes
Film Festival marked a significant
this
One
Davis and Khari
true indie
we compared
at
DeMane
Samuel Jackson, and even the mighty

Mick Jagger, co-producer of Enigma, all
stood on the sidelines and watched their
team get mauled by a bunch of first-time
film directors like Hedwig s John Cameron
For me, however, this year's Sundance
End
Vanessa
seemed overshad-
gay pride.
Drew Barrymore, Caveman s
it's
the same," remarked one 15 -year veteran
films
as
and Cheryl
to Life
due props from the media.
backed
as
such
standing
"It's
The
some great
that
is
films,
Inside,
this
Streeter's Lift,
years at the festival,
of the closet.
Middleton's 30 Years
with a year of outstanding films and little hype. ..which

makes some people very nervous.
primarily hetero-
was so inspired that
Then he
was.
Go
who
that should be shot."
like
figure.
Speaking of bad fashion,
my award
Most Misguided Documentary
for
goes to
Startup.com, a film filled with horrendous

fashion.
To me,
it
some kind of gay angle to it, whether it

was the audience award-winner Hedwig or
Trembling. The annual gay and lesbian
worst (and
brunch seemed almost redundant this

year, because any brunch you went to was
gay. This had to be the first year Sundance
straight face that
wise)
shows a generation
at
its
mean clothingit when Kaleil Tuzman,
don't just
nearly lost
main subjects, said with a

he had to go and meditate on whether to call the company
"HailCaesar.com" or "GovWorks.com." I
one of the
film's
mean,
Chris
Can you say no-brainerl

Hegedus, who co-directed Startup.-
PAL
hello?
Final
Tape
to
film.
young people had a lot of the same idealism that I saw early on in the Clinton
campaign," she told me. Christ! I hope
These are spoiled kids who think
not!
they deserve to be overnight billionaires
coming up with
for
tickets online,
way
to
pay parking
who copped
goes to Artisan,
me
a serious
21

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& Rentals of New, Used &
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then screw their friends
and investors when things go bad.

My award for Un-Indie Spirit this year
attitude at
(PAL
these
think
"I
ProTools
Cut Pro Editing
AVID Editing
Pennebaker) seems to be extremely misthis
Avid Editing
DVD Video Authoring
com withjehane Noujaim (and previously

The War Room, a renowned doc about the
Clinton campaign, with husband D.A.
guided with
& NTSC
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FROM DV
MIX TO PICTURE
4-
Discounts for AIVF Members

Sandi Simcha DuBowski's Trembling before G-d
above bad
then threatened legal
film,
action against director
showed
at
if
And
man.
this
We Got You ALL Covered
He
Motion Pictures
recent projects:
Manhanttan Midnight
jail,
Documentaries
An Immoral Incident
Young Survivor
A Hungry Woman
The Laughing Club
Slamdance.
anyway. Nice one! See you in
it
he
Babylon as the
his film Brooklyn
opening night selection

did
Marc Levin
from the company that
The Cruise! I
Levitch would be inclined
released
think
Speed
to use the term
industrial Films
Personal Projects
HDCAM 24P
Digital
Betacam SP
DVCPR0
DVCAM/DV
U-maticSP/U-matic
"anti-cruise" here.
cameo in Waking Life, I give him Best

Performance by a Cartoon Character. I
also congratulate Richard Linklater on
not only providing the closest thing
LSD, thanks
to his trippy
Waking
but also with Best
Swag
Life,
the
which
Waking
Life
Motion Graphics
Sound Mixing
Digital Cloning
on
animated film
Promo
coloring book,
The Marc
Duplication
Singer (Dark Days)
for Dedication
is
Award
Time Code Dub
Uncompressed Video
SDI/Firewire 1/0
Media 100
Edet Belzberg and Sandi

Simcha DuBowski. Belzberg delved below
streets
street
children,
working
in
nightmarish conditions, contracting sca-
and
Still
living in squalor along with her
Cut Pro
Commotion Pro
Protools
Recording Booth
of Bucharest for Children
Underground, a jarring documentary on
Romanian
Final
After Effects
Conversions
Photography
shared by two first-time
directors,
bies,
PAL/NTSC
colored in for days whilst suffer-
ing from influenza.
the
Hi-8/Video 8
24P/30i HDTV
Edit
I've
ever had to an acid trip without being
S-VHS/VHS
Shoot
Speaking of Levitch, who makes a
Betacam
Sound EFX Library
Great Rates for Independents
*TJ
l
n*
Equipment Rental
DP/Crew
212.868.0028
April
2001
THE INDEPENDENT
17
career award:
Barbara Kopple
tribute:
Paul Franklin Dano stars as a disaffected Long Island youth
Abbas Kiarostami
May
Durham,
best.
his project.
He
carried a
around the world
for
five
began
919
Trembling
G-d is, likewise, documentary at its

DuBowski was 24 years old when he
660 3699
camera
New York EXPOsition
of
docu-
years,
Entry Forms:
www.nyexpo.org
memory
the Trans-
Award,
Story
present to Southern Comfort, in
A truly great film
of Robert Eads.
than
for the
Southern
even save) many people's
Sundance, and
lives.
category:
straight for the heart, rather
obvious or for shock value,
Comfort
also
Grand
Documentary
will
November. The
claimed
the
Prize
Jury
be screening on
at
HBO
Best Reason for Making a Film goes
in
Swedish director Lukas Moodysson,
transgendered people living in Georgia
for
film tells the story of
Tillsammans (Together). Moodysson,
who
and
Show Me Love
(aka
of their ability to love and help one anoth-
their struggles, but
more importantly,
to
Fucking Amal),
he made Together
said
get drunk on
The
Vrllpge:
Voice
November 2000C>v=
Much
"where everyone wore beards."
more than that, however, Together is a

hilarious and beautifully poetic film about
Swedish
in a
life
early seventies.
It
commune during the

also wins my award for
Most Overlooked Film

generally are
(as foreign films
Sundance) and shares
at
Best Soundtrack with Hedwig.
wrote
"ABBA" on my hand and left it there for

week so I would remember to pick up
CD with "S.O.S." on it.
Which
Franklin
in
brings
me
to L.I.E.
performance by
rate
Dano
as a
suburb
Expressway
who
and a
Paul
youngster growing up
off
the
Long
Island
named
adopts a pederast
is
the
People have been saying for years

that it's no
that Sundance has sold out
longer "indie" or that indie film
them dead wrong on
counts, as any of
ail
the above films bears witness.
not the
City
is
festival
it
Own
Private Idaho,
wins the Chuck and Buck
Award
and
for
or
matter of some debate
(the
and others reported that

organizers are considering moving to a
new location), and the celebs and
paparazzi may come and go depending on
the vogue. But for now, anyway, Sundance
is filling a vital need by providing a venue
Village
for
Voice
some of the
world, be
And
it
for that,
best filmmaking in the
independent or otherwise.
my
hat
is
contributing editor at
Kids meets M;y
Whether
should remain in Park
young lover Rimbaud
Belgium in 1873.
has
proved
this year
Richard Baimbridge
in
itself
gone mainstream. Well,
best love story since Verlaine shot his
It's
April 2001
first-
15-year-old
"Big John" as a father figure. This
THE INDEPENDENT
er through the hardest of times.
because he wanted to make a movie
a great place
pithy, vibrant movies. "
18
have to say about homosexuality. The

result will hopefully change (and perhaps
previously directed
e-mail: [email protected].
;X Festival:
new
-"(212)505-7742
"...remains
which
Cowboy Love
went
to
New York EXPO

- ,
Finally,
sexual
that
Short Film and Video

UNDER 60 MINUTES
Challenging Cinema.
menting gay and lesbian orthodox Jews,

and investigated what the Torah and rabbis
35th
Michael Cuesta's well-regarded LIE.
Before
North Carolina
ddff org
DuBowski's
Sandi
subjects.
3-6, 2001
in
is
off to
them.
a militant socialist
and
The Independent. AH
hate mail should be addressed to [email protected].
came
Kinder)
Energizing the Independent Vision
out of the provocative,
The Sundance Online Film Festival

BY KA REN VOSS
Where
will the purest independent
Many
prevail?
vision
web-specific
even
Optimistically,
projects.
the
romantically,
Institute inaugurated
venue,
would probably be
Film
this belief.
be an
and compli-
computer, and
artist, a
the untainted Idea.

a compelling scenario, backlit with
The
kinds of contradictions.
Sundance Film
Nike of film
physical
Festival, of course,
fests,
is
the
with branding power
that can bulldoze a path of exposure for
the meekest of entrants. Extending the
power
to the digital terrain
makes perfect
two featured works in the
online festival, Rocket Pants and Freeware,
made
online
exhibition
with
deals
Sputnik7.com. Atomfilms and IFILM

were actively hovering around others
the
The broadness
physical
festival
drew
to
as
close.
Some
pieces in the festival previously
played
on web
Sundance Online Film
become
Festival
the digital marketplace counterpart to
the physical festival,
know can
which
as
we
all
catapult a small film into the
big time?
As entertainment dot-coms panic and

eat their young, the Sundance platform
for online exhibition may prove to be just
the sort of safe
haven
digital
artistry
of the criteria was meant
match the broadest possible independent vision. They received over 300 submissions, subsequently winnowed down to
18. These fell into Live Action, Interactive, and Animation categories. The
longest project ran for 17 minutes and the
aesthetic range rep-
resented in the group got you right to the
On
had
potent animation, narrative and
the one hand, you
visceral,
not.
The
hauntingly beautiful binlOsex, for example,
put writhing nudes in orb spaces to express

the catalogue) "both the ele-
Milos followed in the rich, poetic fable-
making of Eastern European puppet films.

Qrime, an aesthetic and graphic melange
reminiscent of Pac Man and Oskar
Fischinger put
scrolling Latin
to
jazz,
enthralled with
and malevolent snowmen.
Freeware was a sexy, super-amped 3-D
CG
of
Gone Bad, Fishbar: Violence

Lambs, Romanov: Scarf Mania,
cyber-noir.
the
Rocketpants, Julius and Friends,
and Great
Show illustrated the full

continuum of humor and computerenabled animation. Put these together and
Big Cartoony Club
you've got the definitive primer for animation software, effects,
On
and rendering.
the other hand, the Interactive cat-
egory took you into uncharted
Amy
territory.
through February 28, the original idea
Your computer sucked up iVideo Play
was to extend the physical
enablers,
with online
award" was announced
The
Millard's
in
halo
"viewers'
March.
Sundance programmer R.
words,
J.
and suddenly you were

environment you could rotate on
axis.
To Talkington's
you might assume would be
in
a
credit,
an
360-
what
a mini-block-
buster space was deployed for something
much
an authentic voice and
subtler, craftier, and more allusive.

The Crazy Bloody Female Center (by
Nina Menkes) and Masteries and Desire:
the most
Searching the Worlds of John Rechy (Marsha
the
online
festival
sought works that were "web-specific,

visionary, with
Talkington's
degree
scope and goals were
festival's
ambitious. In
festival's
One
exhibition.
into a
individualized storytelling
What
ifornia.
was
available
The beleaguered
online
the
Milosh
Little
In
Maly Milos, an animated entry by

fest
were actu-
ally
15-minute
Jakub Pistecky.
from
excerpts
CD-Roms. Each
fully interactive
in vary-
ing ways crafted multiple narrative pas-
dense image poetry, and,
sages,
was
it
hoped, wider choices in viewing and participating in story.
Daddie,
filmmaker
in
OB. Cooke's
He
words, was a "digital fluid painting."
put digital
stills
of himself angst-ridden in
The
voiceover.
tormented,
jerky,
artifact-laden effect got
Throwing the
visual
digital
under your
skin.
and aural tracks
in
made
it
but poetic directions
different
painterly in a specifically digital way.
contempo-
UntitledOOl: Darkness was a
of the group games
variation
rary
the
would play (specifically the

Exquisite Corpse, where participants would
fold a paper and draw one part of a figure
without seeing anybody else's contribution). A high- end digital design firm in
Surrealists
California, Belief, started a multi-firm project
where each anonymously contributed
component on the theme of

They plan to do this serially.
digital
"darkness."
"Infinity"
The
is
next year's theme.
were
rest
as
different
films could be, but fleshed out
open arms
like
and potent
precise
emotional agitprop,
as a bullet.
Chronicles was probably the

cial entry,
online
as
Sundance's
to the range of online content.
Meep Meepf was
viable norm. Available for viewing only
settles
of
Southern Cal-
gant and physical reality of sex." Maty
The New Arrival utilizesd360-degree immersive technology.
needs while the industry
the
Project
a continual loop under a heart-wrenching
heart of the war over online film form.
PitchTV, Mondo,
sites like
and Wild Brain. In other words, can the
a regular short that
The
at
University
in
to
shortest for two.
Labyrinth
it
belonged in the shorts competition.
(as stated in
sense.
In fact,
uniquely available on the
exhibition
cated category, online exhibition gets us
back to the single
It's
tic possibilities
to exploit artis-
Internet. Otherwise, Millard explained,
may
film"
increasingly commercialized
meant the work had
Sundance
Online
an affirmation of
as
While "independent
all
unique projects in existence." "Web-specific"
[www.sundanceonlinefilmfesti-
Festival
val.org]
new
its
Sundance
the
with
say online,
ex-
perimental
The Mullet
most commer-
but undeniably funny:
documentary
series
it
was
about seeking the per-
fect mullet, the haircut that's long in the
back and short

short
this
digital
in the front.
Webdreamer, a
video documentary,
question
to
its
subjects,
posed
"Do you
dream about the web?"
And
this,
perhaps,
is
Sundance ultimately poses
the
question
to you.
Karen Voss i$ a journalist and producer for the

American Film Institute's New Media Ventures
Department.
\r
..l
2001
THE INDEPENDENT
19
ask,
making The Business of Strangers

"I would call and
'Do I have the right lawyer? Where
do
get a lawyer? Should
icy while
1999 lab project).
(a
LAB Experiments
by
Patricia Thomson
sional advisors. There's nothing quite like
it
and
in the film world,
are based
on
in fact the labs
Eugene
a theater model, the
he laughs. "Michelle
that regard, and
Satter and her
on helping filmmakers with a specifmore practical," says Dan
focus
ic project. "It's
You have
right away.
whole crew,
and
pressures
of day-to-day
who
says
life,"
has been running
Hedwig and
Cory McAbee's lowtech cowboys-in-space saga American
the
Angry Inch
scheme of things?
About 15-20 films per
overall
year participate
the labs, held since 1983 at Robert
Sundance resort in the

Wasatch mountains. The cycle begins in
Redford's
January with the Screenwriters Lab, for
which 800
to 1,000 submissions get win-
nowed down
these, plus
About halt of
entries, move onto
to 12 projects.
some
fresh
the next phase, the Filmmaking Lab in
June. Following shortly
summertime
on
Producers
its
Lab,
heels
is
another
Screenwriters Lab, and a Composers Lab.
Each
where
is
an intensive training ground
first-time feature
filmmakers work
closely with a rotating group of profes-
20
THE INDEPENDENT
April 2001
who
Business of Strangers.
The
can
labs
also
be a
Sometimes
financing.
when
it
critical bridge to
happens serendi-
Stettner started hanging
your food, and an environment which
No
incredibly stimulating.
you
come out with
to
what some
one's pushing
a reel
which
is
to
We're not
sell.
Sundance is completely
about process and discovery."
It's also about community. Each night
about
tion company, called
some interest from a

left them to go with
results.
i5.
[i5]
because
independent financing.
because they allowed
me
to
this
was
It
was
great,
make my own
film."
On
film schools are about, that
film or script
thesis
is
new producMcGehee had

studio, but says, "We
looking for scripts for their
other occasions, Satter will play
matchmaker
directors
between director and

She helped hook up the coof Lift, DeMane Davis and Khari
Streeter,
with their eventual producers,
financier.
Filmmakers Lab, everyone
executive producers, and financing. She
gathers to watch fresh footage by a fellow
also played a quiet part in getting Series 7
during
the
to
and what advantages do they have in the
in
you've got your housing,
to
Randy Redford's poetic

Native American coming- of-age story
Doe Boy. So what exactly is a "lab film,"
Astronaut
of:
the
pleasing transexual musical
Stiles,
and Scott McGehee at the 1999 lab. In

addition to working on their own project,
The Deep End codirectors were there
the labs since the beginning. "Everything's
with Julia
being the young co-star of The
on problem scenes in a safe, supportive,

alpine environment far from the madding
crowd. "It's small, intimate, far away from
Michelle Satter,
this year for

Sundance Institute's
Feature Film Labs. Ten lab projects got
a record numinto the festival line-up
ber. They were a motley crew, ranging
from John Cameron Mitchell's crowd-
ready.
out with fellow filmmakers David Siegel
taken care
from
wound up
pitously, as
grip people."
where lab screenwriters & directors can take some R&R
was a bounty crop
is
Writers and directors are able to work
the
It
next draft
look at a director's rough
as she did
script,
You have
department, a camera department,
art
lighting
films
to
will call a writer to
the phone to get an actor interested in a
an
between rewrites, production, and editing sessions.
They
cut and offer feedback. Satter will pick up
them
watering hole,
I'm bug-
know I am."
staff make it a policy
labs
Series 7:
you're working with real actors.
Institute
feel like
his or her
will
The
you know,"
The Contenders along with

his lead actress, Brooke Smith. "You're literally putting up scenes and shooting
Minahan, who attended the 1996

with
GONE FISHING: The Sundance
when
ask
Advisors
out,
really helpful in
is
never
ging her, even though
stay involved.
talk to agents
talk to agents later?'
come streaming
questions
O'Neill Theater Center in Waterford,
Connecticut. Unlike film schools, the labs
now? Should
lab participant.
"Everybody cheers, and
everybody laughs
wrong
places,"
says
you know, in the

Minahan. "So you
make
a fool of yourself in front of
peers,
and then
of what
it
gets a lot easier.
we were doing
was
ing to find the tone of [Series 7]
make
it
movie
ment
seem
we
a lot.
like
all
your
Because
really try,
trying to
TV, but work
as
were encouraged to experi-
The good
thing
is it
a great place to experiment.
was
It
to
still
Blow
Up
Pictures'
them a heads-up about the project.

"They may have gotten to them on their
own," she notes, and indeed Minahan
says he met Kliot through director Tony
give
think projects also need that
call,
saying 'Pay attention to this
Bui, "but
phone
project,
and
here's why.'
"
Recently Satter has been working hard
really
was
attention of
the
Jason Kliot and Joana Vicente, calling to
to develop
donated services that can help
lab projects along. Panavision
now
scary
nudge
up,
lends two to three camera packages a year,
and intimidating, but if you fucked

people would love you even more."
Contacts made during the workshops
endure long
after the cycle
is
complete.
Both Satter and the lab advisors are

able for
esis
avail-
consultation throughout the gen-
of a film. Patrick Stettner, for one,
took advantage of Satter's open door pol-
Kodak donates
film
stock,
Avid con-
tributes editing systems to selected projects,
In
and
Pacific Title offers
addition,
its
services.
Maryland Producers Club
provides bridge grants of up to $10,000.
Who
gets
what
is
determined by "need
at
a particular
moment, and the readiness of
the project," says Satter. But with virtually
every lab project, she asserts, "We're
very, very proactive."
That
is,
until
Film Festival.
comes to the Sundance

Only a small portion of
it
completed lab films get into
Those
directors
sensitive
who make
about
the
festival.
the cut are
perception
of
favoritism, while those that don't say the

festival
bends over backwards not to seem
making the odds harder for them.

Satter, lab and festival
biased,
According to
staffers frequently
share notes about film-
makers
But
to watch.
doesn't flow evenly
"Geoff [Gilmore]
and
office
it's
down
will
clear the traffic

this street.
come
my
into
'There's this really great
say,
filmmaker you must meet; he may be

great for the lab.'
say,
I'll
'I
saw a great
say go to
Or
Cooper might
At the same time,
[John]
short.'
them and
say,
and
it's
saw a
just
'I
film
from the
And
they'll say, 'Sure,
thank
says,
mimicking
tone of perfunctory
She
interest.
lab,
a dull
laughs,
are limited here.
really good.'
"
you,'
Satter
knowing her powers
But she needn't worry
about whether the labs have a lasting
impact on their filmmakers.

"For me,
Minahan
"Writing
it
was a dream come
is
so solitary.
group of friends that

Director Dan Minahan
(I)
confers with Creative
true,"
whole experience.
says of the
Now
have
can bounce
this
stuff off
of in a collegial way." His memories and

contacts hold strong.
"I
didn't
want
to
Advisor Allen Daviau
about striking the right

tone for his reality TV
send-up, Series
seme* 7
7.
leave."
Independent
a
editor in chief Patricia
Thomson is
damp
0-year veteran of the cold and
Sundance Film Festival and would love to

the labs' mountain lake under a summer
visit
sky.
the2nd200i
IndieKINO
Intematipnal
FILM^
August 27
September 23, 2001
Short and Feature length films, all genres considered.

Formats VHS, CD, File(.avi only)
Prizes: Total US$15,000
:
Entry Forms and Guidelines: IndieKINO, Inc.

(822)593-6391
[email protected]
e-mail:
or visit our website
at
www.iiff.org
Deadline: July 15,2001
US
i Dream world corporation

400 West Cummings Park Suite#667 5 H'ohiirn.
MA 01801 U.S.A (Tel: 781.376.9722)
Korea
1680-3 Seocho BID #601. Seocho-Dong,

Seocho-Gu, Seoul. Korea 137-070
Sponsors
Samsung. ICBN, rHmfestivals.com
April
2001
THE INDEPENDENT
21

one's
Cheap, and Chemically Treated
Fast,
personal identification with her.
were given
Participants
film or videotape,
Post Industrial
Mediamaking
There
is
no motion
is
picture processing
New
one reason why the
low-budget,
York. Perhaps this

city
of mediamaking
acts
lo-fi
seems to breed
ingenuity. This spirit engenders the on-
three-minute
going
Squeaky Wheel,
shows
film
media
artist
at
access
center in Buffalo. These events prompt

local
makers
work cheap, fast,

They bring the com-
to create
and sometimes
dirty.
munity together and have helped

ize
dynamism toward
revital-
new
creating
1998.
in
[Ghen
Dennis] had just seen Stephen Kent
NY
Mix
Ken Paul Rosenthal
III,
manifesto author himself and lively par-
exchange of information
ticipant in the
about chemical experiments, exhibition

opportunities,
and audiences
such
for
visions,
loaded their exposed films into
light-tight
tanks
video editing
in
suite,
and
of
films
Hand-
first
to
their
dry
like
spaghetti
under the furnace

in
its
near the executive
immediacy and
its
office's
strung
fresh
processed Film
Show was
Squeaky Wheel's
took over the
kitchen sink with toxic chemistry bottles,
filmmaking.
The reward
of Arc Festival audience fast

became the Joan of Arc Festival artists
and vice versa. The participants some
film veterans, some first-timers
gathered
their thoughts and friends, shot their
director's desk.
marriage of
Failed film pro-
Squeaky
media work.
It all began back
Jusick's
of the event, editing was not encouraged.
nized artists like
the
of
and processing lessons
The Joan
Ghen Dennis & Stephanie Gray
lab near Buffalo,
to
roll
in exchange for their efforts. In the spirit
inBVFFALO
by
access
free
point-and-shoot super 8 cameras, a
Wheel's
com-
munity
out-
Festival pro-
gram "Illicit Acts," a frenetic

show of 8-gauge films depict-
The screening became an
ing in about three minutes
the
just
that
with
many filmmakers
illicit
Event, an interactive sort of
act
taking
Happening that opened up a
chances with fate and prodrying and spooling
cessing,
their
entries
in
Anthology
Film
Archives'
projection
new exchange between
artists
Top:
in
booth moments before they
and outside
of Buffalo.
"What are you running from?" Run, by Chris
Borlowski; Hello Buffalo to You, by Ghen Dennis. Both
screened
in
the Streets Closed for Demolition Show.
passed through the projector

gate.
In
the
filmmaker
same festival,
Maia
Cybelle
Carpenter presented a program of chemically
manipulated,
films
that
were
chewy and
silvery
exclusively
hand-
cessing attempts were swiftly doctored up
reach and exhibition programs.
This event inspired more. Last year,
Wheel
Squeaky
times to
open
initiated
screenings of work that's three minutes
distributed a dense packet of chemical
long and addresses
and
recipes
artist
manifestos arguing for
"Burned!
Joan of Arc" was the
and the renegade nature of processing
held
own film.
Armed with Carpenter's hand-processing recipes and the memory of "Illicit
one's
Acts,"
organized Squeaky Wheel's
super 8 weekend workshop.

utive days of shooting
culminated in
work,
Two
first
consec-
and processing
film
a public screening of the
alongside
like
films
through a national open
call.
gathered
Local
first-
time processors presented work as a sort

of visual dialogue with nationally recog-
22
THE INDEPENDENT
April 2001
to
program
with
a Joan of
titles
Arc
Festival.
by the
works by directors
likes of
Carl Dreyer
less
live
expressionistic
accompa-
improv narrations that
formed the intended original content. A

national call for short works on Joan then
yielded fantastic submissions by dislocat-
ed
Buffalo
filmmakers
(e.g.,
Keith
The
screen-
obvious
Sanborn's Mirror) and others.
became an Event, an interactive sort

that opened up a new
exchange between artists in and outside of
ing
of Happening,
Buffalo.
The
exhibition space was our
new
church.
like
Pierro Heliczer,
Squeaky Wheel engaged the

by
Along
and screenings of obvi-
and Ulrike Ottinger and
audience
niments to
Buffalo's
live theater
ous film
such event,
first
Hag Theatre,
and Squeaky Wheel teamed up
when
Hallwalls,
topic.
Three Minute Films About
the element of chance, controlled beauty,
become
call
processed. Following the screening she
an assigned
with paint, scratches, and Rit dye, some-
inviting
them
festival
to
be
impromptu filmmakers. The challenge

was to make and show a short film related to the social history of Joan of Arc or
Next came "The Love and Sex Show:

Three Minute Films About Love and
Sex," presented
on
Valentine's
Day
last
year and again this year. Okay, so audi-
ence outreach and production inspiration

for love and sex is easy. Folks were fero-
SUPERl
FILM
BUFFALO NUMBER CRUNCH
1
Nation's leading industrial
Recipe for a 3:30 Film

one 50 ft
the approximate length of
or
amateur
* roll can be shot by either an
super 8 film cartridge.
o mgepoint-and-shoot super 8 camera
hardened filmmaker with a
one cartridge of super
nioas ends. Hand-processing
approxiT-Max Kit and some f xer takes
a Kodak Direct Positive
done any$6 per roll, and can be
mately one hour, costs roughly
doe. not
one
I
bag, and a clothesline.
where with a sink, changing
short)
too
be
one shouldn't, lest the f.lm
opt for the splicer (and
dry. Or when
minute film Is complete when
the three and a half
witnessed by an aud.ence.
projected, performed, and
Three and a half minutes
and immigra-
city, port,
tion capital circa 1900: Buffalo
Population of Buffalo
c.
1900: 800,000-1 million
Population of Buffalo
c.
2000: 300,000
is
Average number
snow days
of paid
your
to foster
creativity: 5
ftJWC^
snow-
Likelihood your street will be plowed after a
storm: unlikely
Average annual ticket fees paid
snow
side of the street even
on the
for parking
$300
in July:
Elephant electrocuted at Buffalo's 1900 Pan Amer-
Jumbo
ican Expo:
person to die
First
William
Kemmler
Buffalo Sheriff and
the electric chair: Buffalonian
in
1890
in
hangman who went
to
become
U.S. president: Graver Cleveland
cious in their response to the
open
desire,
and
visual sensuality, cynical humor,
life stories.
eras
For love and sex, old cam-
were dusted off and old collaborators
and
reunited. Terry Klein
Julie
Zando
teamed up and rented a room in the

seedy Paris Hotel on the Niagara Falls
honeymoon
strip to
portrait of passion
Disaster.
Video
shoot a grimy super 8
run amok in Two Week
artist
Jody LaFond's entry,
used recycled outtakes from an
Sigh,
industrial job shot in a

ery.
of living in a disenfranchised,
for
the confessions of longing, true love, raw
commercial bak-
Close-ups of strong hands willfully
industrial blue-collar
macabre
histories,
obscene love
post-
town that possesses

with technological
affair
inventions like electricity and death [see
"Number Crunch"]
media
artists
to
Love Canal. Local
crafted love songs to the
harsh implosions of Buffalo's grand industrial
architecture and corrupt urban plan-
ning [see "Survival Rant,"
p.
25]. Chris
ed
self-portrait of himself running
the eerily vacated streets of
through
downtown
Buffalo only to be ironically stopped by
who
ask "what
he doing down-
juxtaposed with a breathlessly narrated
town and what
three minute history of her entire
soundtrack of his hard breathing was hypnotically
Perhaps the most complex program to

date was "Streets Closed for Demolition:
Three
Minute
Films
Buffalo." This focused
about
Life
in
on the experience
bill:
$24
Monthly rent for 2000' sq
work space: $400
loft
Monthly rent for a 5-bdrm apartment with studio

attic:
$500
Breakfast at Amy's Place (Lebanese American

diner):
990
Greek Omelette Special at

Average number
of
local
Greek diner: $1.99
Greek diners per square block: 2
Average cost of a shiny vintage bicycle: $25
Borkowski's video entry Run was a distort-
police
romantic encounters.
electric
Cost of monthly Metro Transportation pass: $44
from the Victorians'
massaging small masses of dough were
life's
Mohawk
Average monthly Niagara
call,
and the cinema was again crowded
the
is
he running from?" The
ambient against the urban quiet
until the police
thus
is
punctuate the silence and
narrative.
Video
artist
Meg
1950s formica table with 4 matching
chairs:
Likelihood you'll have a picnic on the
downtown
Lake Erie waterfront-, unlikely
Chances
pretty likely
God
at
such a sale: $5
imploded: pretty good
building ren-
Komandos
Cost of Kenneth Anger's Kustom Kar
Chances
downtown
the
in
Likelihood you'll attend a branch library film sale:
nation of a rat under her stove and the
dered as an act of
equipment
of finding functioning film
gutter on trash day: very good
Knowles' entry cut between the extermiimplosion of a
$19
of
city building or grain elevator
seeing a
New
Time
it
takes to
Time
it
takes to drive to the
fly to
York City:
hour
with
an appropriated narration
Honeymoon
capital of
the world: 35 minutes
describing the hardships of

puberty.
Anne Borden and
person to survive Niagara Falls
First
63-year-old Annie Taylor
Gail
in
a barrel:
1901
Mentlik documented
in single frames the building
of a Starbucks and the community's loyalty to local cof-
Words uttered upon emerging: "One ought not
Day
week one
of the
is
most
likely
into
urban economy was
Most
likely to retrieve failed barrel
and
Maid
of the
interpreted,
defined,
Niagara
Falls:
do
witness a suicide
Monday
jumpers: The
Mist tourist boat
Cost of a Maid of the Mist boat ride

Love & Sex Show entry The Abduction,
to
that again."
jump
fee houses. Life in this suf-
fering
in
$8.50
Blue plastic raincoat: free to keep
by Sandra Boero-lmwinkelried.
April
2001
Stephanie Gray
& Ghen
THE INDEPENDENT
Dennis
23
C^l
NEW DAY FILMS
is
Owned and
Day
.
run by
its
members,
New
documentary
film
and video
Seeking energetic
independent makers
for twenty-
five years.
Call
of social
issue
DOCUMENTARIES FOR
415.383.8999
NEW MEMBERSHIP.
http://www.newday.com
3BSK
KNEAD YOU: From lody LaFond's Love & Sex Show

Sigh,
love
in
entry,
which breathless commentary on the filmmaker's
life is
coupled with footage from a bakery industrial.
digested. Notions of daily existence were
transferred
AKE MOVIES
SHOOT FILM BASIC SCREENWRITING CAMERA FILM LABS GUEST SPEAKERS FILM STUDIO TOURS SOUND
DIRECTING RENTAL HOUSES EDITING VIDEO FILM TO VIDEO TRANSFER DISTRIBUTION WEB ANALIZE FILMS
FILM EDITING BUSINESS OF FILM BUDGETS LIGHTING TECHNIQUES PRODUCING RESOURCES FILM STOCKS
VIDEO ALTERNATIVES NON-LINEAR EDITING WORKING WITH ACTORS CAREER GUIDANCE DIGITAL VIDEO
back and forth from the
screen to the audience through visual and

verbal treatises
tions
on harsh weather condi-
and the tension between enduring
the situation and longing to escape it. As

Tony Conrad put it in Buffalo is a Verb, "If
you haven't left Buffalo yet, why aren't
you dead?"
The
screening,
latest
"The Dysfuncmost
tional Holiday Show," garnered the
responses thus far from out of state while
WEEK INTENSIVE PROGRAM
competing with the "Love and Sex Show"

for local enthusiasm.
Our four-week, intensive program
offers
hands-on
These three -minute
works, most often a bit sacrilegious, featured Tony Conrad homesteading Los
experience and instruction
in all
aspects of filmmaking.
Your unique creative visiontakes shape under the
Angeles
(among
Buffalo,
for
Kelly
Spivey's
others) alcoholic holiday binges,
alarming familial holiday memories, and
guidance of our experienced faculty,comprised of
digital artist
Barbara Lattanzi dissecting a
childhood photograph into a Rubik's cube
award-winning, industry professionals.
with an absurdist auditory accompani-
ment. "The Dysfunctional Holiday Show"
proved that the usual consumptive non-
INSTRUCTION BY
AWARD-WINNING FILMMAKERS
AND INDUSTRY PROFESSIONALS
profit
art
center holiday party can be
turned into a productive process of making and exhibiting strong media work.
Solarized,
chemically processed,
and
degenerated film images resulting from

processing experiments are
TUITION INCLUDES FILM, EQUIPMENT,
jUt*fc>u sT
LAB PROCESSING AND

EDITING SUPPLIES
vehicles
for
expressing
the perfect
love,
decay, rust belt restlessness,
industrial
and holiday
dysfunction swiftly and cheaply. These

efficient
and smart gems of experimental

and digital art are very often
film, video,
strong enough to live outside their origi-
FOR MORE INFORMATION CONTACT
OK IN L1EPENDENT FILM SCHOOL

training a new generation of filmmakers
nal thematic context.
Many have gone on
to national festivals, thereby maintaining
an on-going exchange of ideas between

Buffalo and
all
places not Buffalo.
Ghen Dennis [[email protected]]
212-706-2225
www.nyfilmschool.com
THE INDEPENDENT
April 2001
Squeaky Wheel. Stephanie Gray

is a poet and
[[email protected]]
filmmaker working as a grant writer
24
is
filmmaker working as the program director at
in Buffalo.
countdown.
then
Survival Rant
Luckily
at
me
Stephanie Gray
for
roll
like,
how
I
did
of film.
still
looks
even get up here?
hop on my bike and head
Squeaky Wheel
nated building.
off
to process the assassi-
later exhibit this film,
Demo-Listen, at Squeaky Wheel, with a
SO ANOTHER HISTORICAL BUILDING
IS
imploded on
senselessly
my whole
brought two. Everyone
Afterwards,
going to be
roar,
several-second event at 48 frames per sec-
ond, almost using
Making a 3:30 film

in downtown Buffalo.
by
countdown ensues,
and I record the
faulty
thunderous
October 31, 1999. To make what? A new

parking lot for a chain hotel, one that
voiceover slamming gentrification, antipreservation, and corporate greed.
probably won't survive Buffalo's crumbling
downtown economy anyway. What
am
below-the-poverty-level-bike-
8-heroine
riding-super
about
Am
time?
this
it
going
do
to
going to
make
hand-processed super 8 love letter that

pays tribute to
that
mit
&
my
all
favorite buildings
down and
worry might be torn
sub-
Squeaky Wheel's annual "Love
to
it
Sex Show,"
as
Am
did last year?
my lone body and scream at

my lungs in protest at City
going to take
the top of
Hall? No. This time
I'll
city,
and poetically
obsessively
document
do what
which is to
find a way to
suppose
always done with this
I've
most recent act of destrucsomewhere up high, and do so

this
tion from
before the police completely block access

to the disaster area.
Luckily
cars,
an
my
lock
it
TV
official
if I
unlike
to a
Stop
ask
Wearing
the
says
security
Termite
not
Friendly, but
TV
why
guard
T-shirt,
I
don't
Discounted
myself?
I
Liability
plead
Insurance
am with an
TV
important
assigned to
disbelief,
M&T Bank tower
camera guy
my
then stop
sign,
crew which was granted
with the security guard that
show and have been

document this event. To my
he buys
my
story
up the elevator with the
for
AIVF Members
and sends me
TV
crews and
rich guys affiliated with the bank,
own
me.
find
bike, which,
can tag along.
helpful, the
just
They
use.
access to the top of the

to ask
hide in a park-
try to
not prohibited in the protective
is
radius.
have
No
ing lot stairwell.
who
Suite
various companies conducting the
demolition.
camera ready
pick floor 14 and get

for
slow motion.
my
When
New York
some preliminary shooting, everyone

what is
that noise?
is that some kinda old camera? Uh, yes, I say, it's a super 8 camera.
They stare at me quizzically, but eventu-
Tel:
stares at the noise; they wonder,
interest
in
the
impending
800-257-0883
212-406-4499
regain
City,NY
10007-2966
start
ally
500
20 Vesey Street
Fax:212-406-7588
Destruction at 48 frames per second
in
Demo-Listen,
by Stephanie Gray.
April
2001
THE INDEPENDENT
25
up to the plate have

the city
Rocky Road
when
been burned by
all
they ran into difficulties or
meet unspecified expectations.
failed to
when
All were tossed into the bonfire
they became too difficult to manage or
Public Access in Buffalo
outlived their political expediency. But
all
faced a difficult path, being forced to walk
Carl Mrozek
by
There's a deep connection
and the
city politics
access
of public
fate
and
renowned
for his
last
ties
finished
in his third
decade serving in City Hall, he
the country. While the story of
is
force to be reckoned with.
Buffalo's public access
is local,
Pitts'
it
provides a
TV
access
political nature
underlies
its
Ever
in Buffalo.
since the inception of cable access
picture of the
J^PfiMHEHS
City Hall has had a
in Buffalo,
on
firm grasp
dynamics and
cable franchisee fees targeted for
operation of public access have
tensions that
always been deposited into the
occur between access
into
and
governments nationwide
city
general fund rather than
city's
facilities
dedicated public access
account.
over questions of management,
access than any current or former
Buffalo
behind
Buffalo dearly have to admit that
it
and public access
As
credited with
often
good times and bad, including changes
There
are a
few notable
TV.
their
Depending on how you define it, pubaccess has been around in Buffalo for
over 20 years and may owe its early birth
lic
to a politician
who viewed
public access
community resource from the
outset.
"I started
public access in the late seven-
ties," says
James
Pitts,
Buffalo city coun-
president and longtime chair of the
telecommunications committee, which
manages the
city's
cable franchise agree-
ments and PEG (public, education, government) access programs. "Back then
there was no studio, no equipment, just
part-time channel space. There were
[community] producers, so a
lot
no
of the
programming was PR, talk shows,

and odds and ends." Pitts is an imposing
early
and
administration
exceptions, however, like public access
like
on the
staying
its
Channel 18's
numerous edgy
city.
in
he can be
such,
love
takes a bit longer for national trends to
reach their
TV
on cable
policy
all city
particular.
who
hand
the invisible
is
in general
Even lifelong residents
many
and
politician,
believe he
controversial content.
cil
secret that Pitts
has paid more attention to public
funding levels, and how to handle
as a
no
It is
cable
durability
during
in
franchises.
access shows to
enabled
now be
second decade of broadcast
Art Waves (featuring music,
theater,
in
shows
art,
and
mainly at Hallwalls), Axle Grease
(independent video and
Heymanowsky
Focus on
and
air
has
(Buffalo's
Women
the
in
Roger
Charlie Rose),
controversial
man
Theater (a
film),
women's
(a
ski
talk show),
about local news and personal

is
also
largely
Buffalo's tradition of
agement of public
a handful of
irate
effect of this bipolar history has
to normalize turmoil
public
Buffalo's
and turnover in
program. The
access
germane media and administrative backgrounds, but short on financial and politfrom applying
ical clout,
dubious
for the
privilege of administering Buffalo's public
access system.
As might be
expected, public access has
each change of
fallen into disarray after
the guard. Access to equipment and

ities
facil-
has been radically reduced or cur-
tailed,
leaving producers and programs in
the lurch, with reruns the order of the day.
Thousands of dollars of access equipment

has been lost or destroyed between
administrations. This has compelled each
new manager
to budget for sizable capital
equipment and physically

rebuild the program from scratch. "We
outlays
for
inherited a mess," recalls Robie Butler, the
executive director of Buffalo Neighbor-
hood Network (BNN), a nonprofit spinmedia arts center Squeaky

Wheel, which submitted a successful
management proposal. "We had piles of
equipment to repair, much of it junk. We
set up editing suites in the basement of a
off of the
building undergoing major repairs while
paying steep rent.

of
We
new equipment
VTRs, and
get the
also
had
to
digital
editing systems
program back on
its
buy a
lot
cameras,
in order to
feet."
Among
other
from being
over the content of
shows by having an indepen-
dent group draw the brunt of the
The Sunship
Years
Independent administration of Buffalo's

public access began in 1987-
for
independent man-
things, this has kept the city
sued by citizens
One
been
issues)
responsible
access.
by
Thunderbird
mask with
strong anti-Catholic point of view griping
Pitts
political
tightly controlled
city hall.
purse strings, as
its
and the
proposals,
budget
other has been to discourage groups with
long close association with
public
reality of a
mayoral elec-
someone
tion, and, as
bow
He
political prowess.
second in the
towns across
in
their long-term goals as outlined in their
management
figure,
between
an economic tightrope stretched between
fire.
the
contract
to
That year
run access went to
Sunship Communications, a nonprofit

organization
American
dedicated
cultural issues.
to
African-
Sunship started
with strong support from City Hall,
due to
their
commitment
community events
partly-
to cover major
quasi-government
However, the organizations that stepped
CONTINUED ON PAGE 28
26
THE INDEPENDENT
April 2001
Access Meets Art
cal sketches a la
by the experience and confidence gained
and we've sold
topic] has national appeal,
copies
Harnessing the Power

of Video in Niagara
over the country.
all
PBS and
track record with
Lamont and
ty."
It's
videomaker Paul
glance,
first
given us a
real credibili-
associates have parlayed
PBS
that into a partnership with
At
WNED-Buffalo on
new
affiliate
project, Inland
through
Oatmeal Boys, whose
slot for
partly
common, other than
New
and we're looking
where close to being ready
each
produce
The
is
that
it
TV. Though the grants are modest
they go
way
a long
One
Voyage: The Story of the Erie
hope they can develop and go beyond the
community access
goal
first
is
we support both
Naturally, programs
Western
to
New
Yorkers and, in particu-
to viewers of Lockport
utes. After
two
cablecasts, the
programs
can be distributed wherever the producer
tiative
quality
chooses.
to
national broadcast.
make
the leap
Paul Lamont's
Fading in the Mist, about the struggle to

preserve
Falls,
the
scenic beauty of Niagara
subsequently aired on
PBS and won
national awards. "It took a lot of blood,

sweat, and tears to get
it
done, and
[Niagara Council of the Arts] grant.

free to
pursue
my
vision,"
Falls. "It's
their
own
arrangements, but
them with
list
ideas,
those
without a strong
their
and subject matter. Each producer
make
good
including
of contacts."
whose
video, Creating Sculpture for Public
LCTV's Larson
video background,"
"Our grants don't pay the

do encourage innovation."
prime example of
Annie
this
about the
Taylor,
Space, was produced with regrant funding,
plunge over Niagara
turned her
into region-wide distribu-
live to tell the tale.
tion through other cable access programs.
might be dismissed
says.
but they
rent,
The Saga of
is
woman
first
list
documents her creation

metal sculpture commissioned
Steinberg's video
of a large
Roswell Park Cancer Institute
by
Buffalo.
She
of
profiled the entire process
from design and fabrication through to
unveiling, incorporating a variety of reac-
from participants and the public.
"I
contacted the [access] coordinators individually,
and most of them requested my
program," she
on
says. "I
could have gotten
access channels across the state
beyond,
Chris
if
it
and
had the time and money."
found a regional audience through
quick glance, this
docu-
videographer Rohesia Metcalf and poet
Joan Murray blends
historical accounts,
and several
original
poems by
Murray.
NYSCA
is
clearly pleased with
how
the
regrant program has evolved. "They've

consistently
done
a great job with their
program," says Claude Meyer, director of
NYSCA's
Electronic
Media and Film
pro-
gram. "We're always open to proposals to

support innovative
Forman's Hands Like Suitcases
as a traditional
mentary, but in fact this collaboration of
narrative,
its
At
to
and
Falls in a barrel
and
cable
County
Niagara
[video]
production
programming.
access
regrant
The
program
is
it
was
Lamont asserts.
on a long
vision included an attack
legacy of crass
and depends on
we also supnewcomers
with
INNOVATION."
ini-
Ellen Steinberg, a visual artist
also
wouldn't have happened without the
That
cablecast
each producer's
we'll provide
tions
Some have managed
to
see,
port
objectives."
must be of interest
TV
to
up
"is
LCTV
their
after
the
Community
(LCTV), the access channel of
Adelphia Cable TV. They also must premiere on LCTV and not exceed 30 minlar,
otherwise wouldn't
it's
to reach
across
videos our viewers
RENT,
of programs to travel
ability
first
scattered
"OUR GRANTS
DON'T PAY THE
BUT THEY
DO ENCOURAGE
coordinator Greg Larson, the
people in the community, but Western

are
LCTV access
According to
has to
although
sphere,
Our
not our mandate.
nation, so
documenand other
taries
Canal.
York State Council for the Arts
Yorkers
high-quality
of
regional
Carl Schifano, regrant
to
(NYSCA), "We want programs of local

interest, which are hard to come by. We
help
also want to encourage new artists
them get a project under their belt and
to build self-confidence. Of course, we
New
production
over Niagara, Fading in the Mist.
the Arts, which redistributes funding from
New
success stories:
the
all
is
vr
coordinator for the Niagara Council of
the
of the
Paul Lamont's look at the struggle
in giv-
ing mediamakers a leg up.
According
to
for
some regrant
more remarkable due the program's commitment to emerging and first-time
artists. "While we try to support
funds work specifically for public access
less
series
success of
projects
program so unique
comedy
national cable."
What
the Niagara Council of the Arts.
$2,500 or
it,
for a theatrical agent,"
Forman says. "The regrant program has been great for us.
Without it we wouldn't be any-
video regrant program administered by
this
also
funded by the Niagara Council of
received production funds from a small
makes
TV
was
pilot
their roots in
However,
York.
his collab-
the Arts. "We've got a lawyer pitching
poet Joanie Murray don't have a great
Western
Forman and
Suitcases,
orators are hoping to land a national
Lamont, sculptress Ellen Steinfeld, and

deal in
Monty Python. Boosted
umentaries in general, especially regional

ones," he notes. "It turns out that [this
exploitation of Niagara
so hard to get funding for doc-
public access, as well as
an international
audience through IFILM.com.
comedy within
the
unique in doing both
for so long."
rare
For further information, contact Carl
documentary-rich
Schifano (716) 284-6188. Annual dead-
regrant program, Hands Like Suitcases laid
line
is
in
March.
groundwork for Forman's current

work, The Oatmeal Boys, a series of satirithe
CM
April
2001
THE INDEPENDENT
27
managing pubcommuni"We covered festivals, concerts, and
access function
besides
access for producers in the
lic
ty.
other events
sometimes
as
public
but
service,
at the request of city officials,"
Sunship board member Michael
recalls
"TCI, the cable franchisee, provided
Hill.
van
a large
equipment
to haul
remote
for
productions, but no additional equipment
do
to
we had
with, so
it
to use studio
demanding
Despite the best of intentions, Sun-
commitment
haunt them as
to public service
to
the
demand
services snowballed, often
came
for their
ered just before going on the
seemed like
been worked
ing to
coming from
This created a bottleneck in
politicians.
demand
for
equipment by access pro-
"Because capital expenditures
ducers.
were phased in over

tion
equipment was
ues.
"Using
it
five years,
produc-
limited," Hill contin-
difficulty getting
needed
equipment when they
Hill adds that
it."
Sunship took
the heat for this dilemma, which in
all
bend
and
out,
had been
the city
if
to fully
back Sunship's proposal, financial-
The
or politically.
capital
budget was
spread over five years, but the expecta-
were there right from the
tions
down
tried to build
city didn't
seem
to appreciate
do television
to
hoping
start.
We
expectations, but the
what
costs
it
the level they were
at
for."
BCAM Takes
a conflict with City Hall over policy
and censorship. "The contract
called for
citizens' advisory
board to
and administer public access
create
poli-
but the city never formed one," says
cy,
over
along.
how
When
conflicts arose,
like
to deal with complaints about
was no one
offensive programs, there
mediate between Sunship and the
We
we
"Instead they created policy as
Hill.
went
took
shove,
all
all
the heat.
we had
to
city
to
city.
When push came
to
back on was a
fall
contract written by and for the
The
was more than
(BCAM), was
a year before
another
Media
selected to administer the
public access program in 1992. In
its
favor,
BCAM had broader racial and ethnic rep-
its
third year, ostensibly
over a city tax delinquency by Sunship on

the former studios of
WKBW-TV, owned
by Sunship and used as the access
facility.
Hill believes the city's intransigence
back taxes was one
one had
to
factor,
do with how
plaints about offensive content.
target
on
but the bigger
to deal with
com-
One
key
was the snippets of pornography
sandwiched into a shock jock- style show

called Rocky and Dino's
was actually produced
Back
in
Alley,
New
repackaged in Buffalo. "The
28
THE INDEPENDENT
which
Jersey,
city
but
began
April 2001
media, and academic communities.
had a savvy, seasoned executive

director, Sharon Mooney, who was fresh
also
from running
facility in
a successful public access
Texas.
Initially, at least,
she had
the ear and respect of City Hall
Under Mooney,
frustrated
BCAM
tration at
and vented their frus"The city consis-
staff.
underestimated
tently
budgetary
the
needs of public access. They either don't

understand what
public
cessful
it
takes to operate a suc-
access
want one,"
program or they
Hill says.
City Hall and wrangling with disgruntled
Mooney
producers,
greener pas-
left for
tures in L.A., leaving a leadership vacu-
um which
split
the
board
replacement. Ultimately
tant,
over her
Mooney 's
assis-
Michelle Howard, prevailed with
City Hall's blessings, despite being the

least
experienced candidate. In barely a
when
year the program ran aground
Howard was suspected and

ed
embezzling
of
later convict-
upwards
funds
of
$25,000. According to city auditors, double
there was an air of
that
amount vanished during
period, sealing the demise of
this
BCAM.
optimism about the future of public access

newly
in Buffalo. Before the year's end,

trained/certified producers
had access
TV
moderately well-equipped
to a
studio,
editing bays, and an expanding volunteer
freelance crew pool.
staff
of four han-
managed and main-
dled programming,
tained an expanding equipment pool, and
city."
canceled Sunship's contract in
the middle of
became
After a few years of budget battles with

the Reins
organization, Buffalo Cable Access
It
Hill
were reduced to part-time. Producers
don't
arts,
formation of a
Michael
unrealis-
resentation, plus representation from the
was
Sunship board member
dry."
had
costs to do
were hoping for."
Sunship high
left
it
will-
duties.
ultimately sank Sunship's ship-
to
expectations. "The city wasn't willing
tic
It
seem
television at the level they
a little," Hill reflects. "Instead
had been created by tight budgets

and their unexpected government access
fact
What
appreciate what
to cover big events tight-
ened the supply even more, and independent producers often complained about
city didn't
Still, it
air.
these issues could have
all
they pulled the plug and
ly
"The
staff
Hill also believes the city
ship's
limit-
and budget that wasn't feasible,

especially since many shows were deliv-
ed
gear."
the
Sunship preview pro-
that
grams before airing them. With our
provided
regular
Training, a fair
training
programs.
and open access
policy,
and a modest outreach effort brought in

new producers and diversified the pro-
gram mix.
honeymoon
budget
when
equipment
ticipants.
as
the
BCAM's
cap-
new equipment was
negli-
second and third years, pre-
they should have been adding

to serve a growing pool of par-
During
this
than augmenting
increased
with Sunship,
didn't last long.
for
gible in their
cisely
final
demand
same
staff to
period, rather
accommodate
for services,
most
staff
BNN
blow came when Buffalo's cable
franchise changed hands, along with
own-
which public
ership
Adelphia
were
housed.
studios
access
Cable, the new cable provider, had other
of the building in
plans for the building and evicted
BCAM
under terms of their franchise agreement

with the
city.
quarters was
The move
left
in the
temporary
to
hands of the
city's
Telecommunications Agency, which waited until the
Unfortunately,
ital
Phase Three:
The
last
minute
to
move
the
equipment.
This
resulted
in
Equipment
was
grabbed
randomly,
chaos.
thrown into vans, and driven to a gated

storage area where it was unloaded and
piled haphazardly into a trailer.
sub-
amount of gear was left exposed

outdoors for some time. "An awful lot of
stantial
the equipment was essentially junk by the
time
we
got
it,
and wasn't worth
repairing.
We
had
to virtually start
from scratch
when we took over the program," says

BNN's Butler.
The view from City Hall, which man-
was quite
AVID
DeWITT STERN GROUP, Inc.
wake of BCAM's downfall,

"The problem has
program. They can't seem to get orga-
24 hr building

INSURANCE
AVID 1000/AVR77
nized and always skew towards their speinterests,"
cial
"They
laments.
Pitts
haven't created the kind of programming
420 Lexington Ave.

Tel:
New York, NY
212-867-3550 Fax: 212-949-4435
Newly reconfigured
which the community needs, the kind

which could
a view
mid-town
with
in
different.
always been the third party running the
DIVA
at
large rooms
CELEBRATING
100 YEARS
aged the access program for more than a

year in the
"\
Easier for editing
attract outside revenues to
help sustain public access."
under BNN,
However,
salvageable
equipment was repaired and new
As Ions-time
AlVF members
digital
equipment was purchased, maintained,
and loaned
out.
the
BNN
why
of
we were supposed
the contract in our
insists
Butler.
was
about
all
first
212-297-1468
did
Jennifer
to under
Brown
DIVA
year and more,
v.
"Canceling our contract
Edit
1-800-324-AVID
330 W 42nd St NYC
212-297-1445
support from City Hall,"
little
to help
public
"We
access has floundered in Buffalo.
is
other independents
board take strong exception to
everything
despite
on time. Butler and
characterization
Pitt's
our goal
were paid, and
Bills
financial reports filed
not performance."
politics,
As with Sunship, not knowing how

deal with pressure
to
'do
to
something
about' controversial programs created a
IVID
dilemma. This time the hot potato was

Thunderbird Theater,
Catholic
and
mask
politicians. Despite
repeated pressure
from City Hall to have the producer 'tone

it
SUITES AND FULL SERVICE 50UND 5TUDI0
show that often attacks the

Church and local government
guy,'
a.k.a. 'the ski
HII In
MC Of] dne/Online
f)
PC
f>
Excellent
or
him deal
BNN
directly with City Hall.
She and
paid the price with termination of
BNN's management
them
contract.
could be sued personally for doing

that
violated
it
Amendment
access
is
imposed
ernment
deplore
World.
It's
programs
rights
it
or
I
AVR 77
Onlines
First
"Public
and when cen-
something
happens
in the
also stupid to censor access
because
Amendment
First
9 Sound mi: ng and
we
Third
CITYSffllHB
If
the
ACLU
takes the case,
212.477-3250
library of
Pro Tools
editing
ADR
Voiceover
: Huge
*
have consistently been upheld by
the courts.
212.614-7304
and
equivalent to a gov-
it's
takeover
when
so,
producer's
she says.
a public forum,
is
sorship
the
rights,"
that
upport
DV, Beta, 1/2", lA ". DAT

UNCOMPRESSE
told
"I
wouldn't censor shows,
Ww
Mef
down,' Butler refused to pressure the
producer to modify the show or to have
One Location
Mix
~ound
effects
Q 2 inch 24 track/DA88
DAT
they're almost sure to win."
However, the
with
BNN
city
differently.
viewed the break

"With the comple-
636 Broadway
at
Bleecker Street
April
2001
THE INDEPENDENT
29
MmM SO
(^
tion
new
of our
multi-million
Telecommunications
Apollo Theater,
it
Center
didn't
make
have separate operations
dollar
the
in
sense to
for education,
government, and public access.
made
It
more sense to have PEG under one roof

under our control," says Thomas
more emphasis on marketable skills in

production and program development. In
a
few years there's going to be a huge
demand
for
video content on the Internet
and
for people
get
people
who can create
Why not
through
started
Conrad muses. He
access?,"
it.
public
also believes
global.
We
want
broadening
access.
to achieve that again
our
Our new
mothership
of
definition
facility
going to be the
is
that public access could be an appropriate
other corners of Buffalo,
munications Agency.
medium
tributing to the access channel."
and
A Brighter Future?
skills
months after terminating its agreement with BNN, the city issued an RFP
for "Management and Operation of a
Municipal Multi-Purpose Telecommun-
brighter
According to Tarapacki,
nesses,"
ications Center."
whomever
selected will run technical
is
support and take care of day-to-day oper-
under close supervision by
ations
training programs.
Pitts also
Six
his
an assortment of vocational
views
PEG
economic
especially for
community.
"I'd like to see
and promote
how
to
community.
management
recent
program
Ghen
the Apollo Theater.
at
them
more
to see
Squeaky Wheel since the
at
facilities
takeover of public access. "Public
city's
producers have been using our
access
editing suites a lot
more
since
BNN's con-
be formed Citizens'
producers making programs that benefit
tract
Access Advisory Board (CAAB). Once
the community, the kind you don't see
access to editing equipment," she says.
agency and
a yet to
CAAB in the much
history of public access in Buffalo.
Never-
on other local stations. Why not

make programs on local history, geogra-
seven voting members
will all
phy, economics?
convened,
it
theless, its
will
be the
first
be City Hall appointees
common
four
Despite the controversy over
BNN
access, Pitts
is
upbeat about the future of
"Our new
access television.
art access center
hub
nications
where
Buffalo,
is
like
state of the
going to be a
next door
is
commu-
we've never seen in
we'll link cable
and the
Internet,
library
TV, the
system.
At
to
The
going to be a state of
the art media center, where we'll use
media
and
checkered track record in public
Buffalo's
library
by the
council and three by the mayor.
new
connect kids to the cyber world.
the Apollo Center, anyone with ideas
and
can come in and produce the
ability
kind of programs you won't see on other

local channels," Pitts says.
"One
of the
problems with public access in the past

defining
to
do
it
is
as providing equipment to folks
their
should also
own
mean
thing.
'Public
access'
access to information
and
facilities to
like
we haven't seen
people with
plan to use our
produce quality programs
skills
before,
and ideas
do
ers to
their
only goes so
own
far.
thing
come
to the
management
to
is
okay, but
is
it
pro-
the
"We do
all
our production
Our shows have been

time
man-
problem," says
house, so access to equipment

issue.
center
direct city
to date. "For us city
agement hasn't been

Borkowski.
arts
no qualms with
isn't
in-
an
airing at the
and without censorship."
needs."
usual
Conrad also envisions a public access

program that could forge a vital link
between the community and its smaller
Veteran independent producer Richard
institutions.
profit
"There are hundreds of non-
groups in the city which provide
types of services.
all
Most of them have an
information delivery challenge:
how
to
get their message out to the community.

It's
too expensive to get
commercial and public

a
little
money
full
programs on
television,
but for
they could hire a trained
access producer to get their message
Channel
on
18. There's also a lot of intellec-
town that
their ideas?"
April 2001
contemporary
Buffalo's
Hallwalls, have
grams that educate and serve community
access see a role for public access in eco-
THE INDEPENDENT
producer of Artwaves,
longstanding access program produced by
invite
What's missing
marketed adequately.
30
self-sufficient types like Chris
Borkowski,
and we
Apollo and do the same. Training produc-
and opportunities."
Curiously, even long-time proponents
of an independent approach to public
nomic development. "It would be great if

public access could do more to serve community needs in Buffalo, which still has a
depressed economy," says Tony Conrad,
University of Buffalo media professor, and
a former BCAM and current BNN board
member. "For example, as part of the public access training program there could be
staff
was cancelled, because of limited
However,
of
We
its
of the public access
Wheel, reports increased use of editing
develop and run
I'd like
munications Agency mixed reviews on
their busi-
small businesses and help introduce

to the
them con-
Dennis, technical coordinator at Squeaky
he declares. "We could feature
programs on
of
TV
small businessmen using public access

to acquire skills
all
Access producers give the Telecom-
access as vital to a
future,
Buffalo's Black
by
public
multi-media centers in
for
Tarapacki, director of Buffalo's Telecom-
for
we
available to us for public use, so that
can market ourselves to the world," he

says. "A century ago Buffalo was very
tual capital in this
Why
ple use public access to
isn't
being
not have peo-
market
their skills,
Wicka, who has his

"I
can see where
city
Pitts envisions
management
studio, concurs.
could be better, but
isn't
causing
me any
BNN.
problems," he says. "But neither did
A lot of producers here
are taking a wait-
and-see attitude."
Time
will
flourishes
the
tell
whether public access
under the direct supervision of
Telecommunications Agency
city's
and. the guidance of a politically sensitive

Citizens'
critical
Access Advisory Board. The
question
may be whether
of Buffalo proves any
port
its
more
the city
willing to sup-
own administration of PEG than it
has for those community organizations

that
Looking down the road,
own
it
came
when
before
it.
A key test may come
the next batch of viewer complaints
extending public access to broadband
over content reaches the desks of city
on the Internet. "Buffalo

one of the most wired cities of its size
is
councilors,
in
stops there.
applications
America. We're working to create partnerships with cable and other companies
that are using our streets and pipes to
install their fiber to
make some
of that
and they
Carl Mrozek
realize that the
buck
a former public access producer

documentaries and
shorts about wildlife and conservation. His work
has appeared on die Discovery Channel, PBS,
CBS, and National Geographic.
in Buffalo
is
who
specializes in
6* S
scene.
She wished that something
videomakers.
girls
"I
decided to
making movies,"
correspondence course for
which she
July says,
dubbed Big
originally
Miss Moviola. After announcing an open
call for
women
Rock'n'Roll, July
in
piled the
DIY music mags
like
and
similar existed for film-
start a
Maximum
videotapes by
com-
10 into what she calls a "video chain letter."
first
rather benign version of the classic, hard-sell chain
letter,
each
participant received a copy of the completed tape, along with a
booklet in which each
!^Q
11?
ters
New York and Canyon Cinema
were among the best expressions
letter introducing herself
is
more video chain
movie. In addition to being sent
on the Joanie4Jackie web
name
these compilations are
for a very reasonable $10.
site
abandon her
Last year July was forced to
San Francisco
in
home
from Moviola
of the
collective spirit of their day, with an "all for
still
alive
erative
is
spirit of the
no longer as galvanizing as
explains as
once
President.'
Co-Star
nineties counterpart: "micro-distributors."
ment
These are small, largely home-grown opera-
in
and early
all
tributors
offer,
how
and what
is
er
from DIY record labels
several
or
films
important
especially
schemes
rele-
vance to the Joanie4Jackie
they
audience.
a look at three rising micro-dis-
The most
Astria Suparak's
J0ANIE4JACKIE
recent,
Some Kind
of Loving, included works by
they got started, what type of work they
takes to run the show.
it
comple-
videos which they consid-
single-minded devotion of one dedicated
What follows
for
the video chain
and of particular
film distributors to proto-Ponzi
reflect the
person.
'So-and-so
"
For each Co-Star
select
con-
Drawing inspiration from a
multitude of sources
she
endorsing
tape, July asks a curator to
trast to the perceived leveling effects of face-
less corporations.
project
which
series as a
to
letters.
and passion
and stand
Rather
In 1997, July started the
the blossoming of what one might call their
of a quirky small business
her
"girls
like
girls,
was. The last few years, however, have seen
tions which offer the authenticity
Digital.
out in court, she
Joanie4Jackie,
coop
it
it
rechristened
for all" ethos. While both are
and kicking, the
company
original
of Big Miss Moviola, prompted by threats of legal action
than fight
one and one
let-
forthcoming. Self-consciously egalitarian,
directly to participating videomakers,
sold
in
and another
verite to the rawest
Brian Frye
THE 1960s, FILM DISTRIBUTORS LIKE THE FILM-MAKERS'
Cooperative
wrote a
these include artists ranging from middle school to middle-aged,

whose work runs the gamut from arch avant-garde to cinema
by
IN
woman
to the rest. Since then, July has released 10
Karen
Yasinsky,
Reeder,
Stephanie
Jennifer
Barber,
and Peggy Ahwesh, among

others. For these video compi-
oanie4jackie
If
m.""
So
.
you follow the video scene at all, you've certainly heard
of Miranda July,
who just finished
performance Love Diamond, which was a smash
New
York City's Walter Reade Theater to the
at
venues from
Museum
of Fine
Arts in Houston. But in addition to working on her

career
making
Washington, label
tapes
and
Records
recording
the
for
something wholly unique and operates more
July tells
Oregon,
in
J.
arti^
artists,
an <e
Olympia,
it
all
started
'ous
efit
artists
like a
first
distrib-
when
she
moved
1995 and was impressed by the
lively
to Portland,
DIY music
and those on the
which has
copies
compilation
about
it's
The Co-Star
share 50 percent of each
tape's net profit,
Cuev,as).
chain letter
than a traditional
from a more vigorous mar-
keting program.
Barber,
artists
WXimena
via their record catalog,
thus allowing the works to ben-
'"eluding
1,700
are
sold
already
making money.
July considers both projects of equal importance, as they serve
different needs
it,
er(var
own
ution company.
As
Records,
July also runs a tiny distribu-
tion operation called Joanie4Jackie. Like her performances,
connecting young female media
vW'
them
nationwide tour of her video
teamed up with K
which distributes
lations, July
and purposes.
If
the chain letters provide a sense
of community and shared purpose, the Co-Star tapes add a dash

of pedagogy, pointing to specific tapes as worthy of emulation.
April
2001
THE INDEPENDENT
31
Joanie4Jackie operates out of July's Portland office, which
especially
if it's
something
just
want
to see for myself."
doubles as her rehearsal studio. While a couple of dedicated
A longtime collector of seven-inch 45
more technical aspects of the operation

(web design, grantwriting, and the like), July depends heavily on
interns, many of whom she meets on tour. The funds raised from
saw short
tape sales, however, are hardly sufficient to cover costs; grants
from the Regional Arts and Culture Council and the Andrea
While the DIY music scene had

covering and supporting local
Frank Foundation have helped put Joanie4Jackie in the black.
equivalent for filmmakers. Taking a cue from those labels,
But Miranda July
McCormick decided he would
friends help with the
grants.
Soon
the sort to be content with just receiving
isn't
she'll
be doling out
money
herself, passing
tion of those grants to the chain-letter
According
girls in
on
a por-
Joanie4Jackie.
to July, future chain letters will be shorter, appear
more frequently, and most significantly each will include a

new work by a contributor to one of the previous tapes, commissioned by July to the tune of $1,000. The idea came from her
own experience as an alternative media artist; after finishing a
first film or video, she says, young artists wonder "what now?"
July wants to provide both the means to continue working and
the validation of critical recognition.
Every day July gets suggestions of other ways she could
and videos. Her response
tribute films
Why
As
don't you do it?"
can keep doing
something
"That sounds
she notes, "There are as
systems as there are people. This one
reason
is,
for free,
it
is
what
many
dis-
great.
perfect
needed. That's the
because basically
it's
giving
me
need, every day."
films as
rpm
records,
McCormick
an analogous format and wondered why they
As he
"You want to have them on your shelf and pull them out."
weren't available in a similarly cheap and accessible form.
saw
it,
tribution
from mastering
of small, regional labels dis-
lots
no obvious
there was
artists,
prepare the actual product for dis-
rather than operate
to packaging
as
mere purveyor of tapes supplied by artists.

The first tape, which featured artists ranging from Scott
Arford and McCormick himself to Olympia Film Ranch, was
very successful, selling several hundred copies. After about a year
and a half, McCormick realized he had to make a formal business
out of the project. Concluding that applying for nonprofit status
was too much of a hassle, he got a business license as Rodeo
Filmco, which he now believes better suits his needs.
McCormick draws up a contract with every artist whose tapes he
distributes, much like one offered by a small record label. A small
advance is included in the initial costs, and net profits are split
on a percentage basis. While most of the tapes barely break even,
a
McCormick
currently in the black,
is
if
only
just.
Unlike more traditional film distributors, Rodeo Filmco only

sells
home
tapes for
he doesn't rent them
use;
screenings or set up shows for the artists
Cormick
says he's
it
for theatrical
While
distributes.
Mc
happy to present curated Peripheral Produce

shows, he prefers to connect venues
to
111
artists
In
information for every
Matt McCormick was making the
1994,
lonely drive across the
name came
sprouted.
first
combining the idea of
in a flash,
entirely.
The
Mac.
Big
Produce came to fruition the next
he found
cable access
a-
new home
the
TV
show
in
sales there's less pressure,

year,
debut-
McCormick's
gave way to
was
presenting
shows, and
Peripheral
result
he did
all
time allows, rather
roster includes tapes
by video -mix duo Animal Charm,
live
Vanessa Renwick of the Oregon
many
video com
^ \>^5tf^
e
just that.
was the Auto -Cinematic Video Mix Tape and the
nature
V'#
Department of Kick Ass, Craig

Baldwin's Tribulation 99 and
s
Sonic
beginnings of Rodeo Filmco,
the
"official
business side" of
Peripheral Produce (formed because "we didn't
want
WSV<
to explain
with
&*
long planned to start some sort of distribution
project, but, like
Miranda July, he was more excited by the model
offered by small, regional music labels than by established video

distributors like Facets or
Video Data Bank, whose customers are
more often institutions than individuals. "Sure, you can call up

one of these distributors and rent a video or a film print for fifty
dollars or more, but
felt like, well, that's
THE INDEPENDENT
April 2001
kind of impossible,
!, b0ia#
;>^
$af
is
Russ
Mind.
set for release
many more
in
the
McCormick had
8-Traclc
sixth tape
was every time we went to the bank").
'peripheral produce'
and
Outlaws,
Forster's
32
video
he can
the time.
The Rodeo
over Portland. After one too
pilation of the shorts, in 1996
what
as
than having to keep on top of bookings
live
audience members suggested he do a
The
when
much
reward.
home
with
addition,
little
Peripheral
Produce film programs complete with

all
took too
of Portland, Oregon. Before long,
series
McCormick
bands
it
time and offered too
ship tapes
ing as
That's fine with him, as
sort of "produce" wasn't
on the
him
artist
art
agriculture or produce"
In
garnish
to
likely
contact
the few times he acted as intermediary,
"made and sold like

and the fact that his
Rodeo
the
video, so people often bypass
Lone Star State when the
seeds of Peripheral Produce
All
directly.
include, complete
tapes
works,
looks
and
promising,
future
utia^ ;
'**$&
profits
unlikely.
So'
From
Sarah Marcus's
Knuckle Down
the
keeps costs
future
though
remain
McCormick
down by oper-
Rodeo out of
his
home, but he plans
to
ating
'
have
employee soon and step up advertising. To date,
a part-time
he has depended primarily on the Internet and small ads in film

magazines
like this
Cinemad and Cashiers du Cinemart are

Records has also started carrying his tapes, which
imminent.
make inroads with the music crowd. Not surprisingly,

he's had a lot more luck with sales to a younger, more music-oriented audience than to the artworld crowd. "On tour, we sell a
ton of merchandise at a punk club in a small town like Chico,
has helped
and nothing
California,
at a
museum
you do when a Brazilian friend leaves several
film prints at your
house and asks
if
you'll take care of

it
as a
United
cue to
start his
now
handles
Fever Films, which
distribution company,
about 100 films and videos. Specializing in gay and lesbian
Fever Films' roster ranges from Karim Ainouz (the Brazilian in
and many more.
When
Ainouz
left his
two
New
for the
York
City.
in
company
shepherded
it
feel like
they
Fever
put more
While he operates Fever Films out of his home office, a sepaand front desk help Jusick keep operations professional and under control. Jusick estimates that he spends 20
to 30 hours a week on Fever Films, though his workload decreases a little over the summer, when it's easier to find interns. While
he would love to hire someone part-time, there's simply no
money for it. "What that means is that everything rests on me in
a lot of ways, and it's horrible," he declares. "Every mo-ment is a
moment for recrimination and guilt, and anything you don't do
One
of Jusick's biggest projects right
now
enhancing the
is
company's web presence. While basic information on films
is
currently available online, he plans to add a searchable database.
He
also
wants to expand
his
company's
profile.
While he doesn't
have an advertising budget, Jusick confides that

festivals,
that reciprocity
it's
"if
is
learned
name
the
of
films
the game." Often he'll offer reduced rates in exchange for an ad

in a festival catalog. But the bulk of his marketing
takes the form of direct mail pitches to selected

larger venues. In the case of Fever's bigger releases,
new
two
like its
Rodney Evans's The
features,
Unveiling
and Jenni Olson and Karl Knapper's Afro Promo,

Jusick will bulk-mail a one-sheet. But mailings are
Jusick
as
through the
when
so,
they
if
than comes out," Jusick admits.
and became the kernel of the

fledgling
cannot. Even
art spaces
doesn't turn a profit. "There are times
MIX Festival in
One of the films,
Paixao National, was brand
many
don't like to), while
money
priority, as
than schools and can afford to pay (even
anything working at
with Jusick in 1995, the latter was
working
reliable
films,
question) to Texas Tomboy, Jenni Olsen, Michael Wallin, Jerry

Tartaglia,
more
festivals to universities
tend to be the
festivals
yourself doesn't get done."
States rentals? Stephen Kent Jusick took
own
are
but
from
gamut
Fever's renters run the

to small art spaces
rate business line
in a big 'cool' city."
flLWS
tun
What do
where," says Jusick.
one; in addition, small-scale ad campaigns in
high- end film fanzines like
come from some-
of thousand dollars, which would have to
festi-
expensive, and he says
it's
difficult to sell films to col-
val circuit. For a couple of years,
Jusick
handled only Ainouz's
work,
but by
began
expand Fever
to
acquiring more
titles.
both
distributes
his better
1996 he
late
of
even though they are some of
universities,
funded customers. Some of
tive deals are
with academic
libraries,
his
most
though he
more excited by public screenings.

He's also more excited by the medium of film,
He now
individual
shows in
his reluctance to enter the
While he'd
shorts.
like to
a bias that
video market.
subcontract with an existing video
"home video
tributor,
home
sales
is
marily because
audience
And
if
is
an
target
super
Ants in Her Pants,
has a body
by K8 Hardy
Much
of work, Fever Films will
often
c t\|ER
thing.
NLMS
Unlike most newer micro-distributors,

Fever Films hews to a
fairly
billing. It
Jusick admits that
it's
dated" and none too

the
filmmakers,
it's
Xerox machine.
"I'd
slick.
@tertl*.otJ
,,
out-
duplicated
on
They
margins rarely inspire enterprises of
this
are novel because they reflect the spirit of
for
better
or
worse
previous
collec-
young visionaries insist on doing

way and on their own terms. Which,
things their
come
to think of
it,
isn't all
that different from their
equally iconoclastic predecessors.
Designed by one of
easily
profit
none of these
a particularly lucrative business.
tivism. All of these
has a catalog, though
now "somewhat
sort.
replaced
festival applications, press releases, renting,
and
But
'
is
their times, in this case the individualism that has
traditional
nontheatrical distribution model, handling
shipping,
like their sixties predecessors,
MICRO-distributors
every-
distribute
on film, I really hate to be pushing it on

which is not the way I prefer it to be seen."
exists
video,
so well defined.
artist
"If the
pri-
work
the
dis-
whole different kind of
ballgame" and not necessarily a priority for Jusick.

successful,
per-
sonally
QueerPunk package has been

particularly
lucrais
Films,
works and also themed pro-
grams
and
leges
Brian Frye
is
a filmmaker, curator,
and
freelance u riter living

in
Vic
York Cir\.
love to have something
printed and bound, but
it
would cost
a couple
April
2001
THE INDEPENDENT
33
..
.;
'
ST
DIRECTOR BRAD ANDERSON AND CINEMATOGRAPHER UTA BRIESEWIJZ
TALK ABOUT SHOOTING THEIR HORROR FILM,
SESSION
ON SONY'S HD 24P CAMERA, THE CINEALTA._
by
9,
Patricia Thomson
iGENES IN
of a decrepit 19th c e n^Cty *-rn en ta
F'
i
n s*t t u t o n T'
i
l^SI^^Pfin d e rs^nâ y
ferent movie than I've ^'eV.d one," he's not kidding. Session
film, a psychological ttyiter that involves a
bling insane asylum
This
.
is
a far cry
whoVe
from
drawn
light,
Stop Wonderland, and Darien Gap
all
er
Goodman's
in
crum-
and conceal a few of their own.
works
not just
to High Definition
dif-
contemporary horror
Happy Accidents, Next
smartly written works that deal

is
in
in
some way with
genre. With Session 9,
specifically, to Sony's
HDW-F900,
review, page 38-39.]
In
January, Anderson and his director of photography, Uta Briesewitz, sat down with The
to talk at length
about their experience with the camera. Since the two had previously worked togeth-
on Next Stop Wonderland, they could compare the
points and
^*veTy
24-frames-per-secona' progressive scan digital camera, more commonly known as the
CineAlta. [See Robert
Independent
35mm
of his previous
contemporary relationships. But the difference

Anderson made the leafkfcom
is
" it'
group of asbestos workers cleaning
into its past mysteries
snappy tone
mi^p
terms of how
it
35mm
versus the HD experience, both from their own vantage
affects their working relationship on set. Which
challenges and possibilities of filmmaking to come.
it
did. So here's a preview of the
new

colors, the paint that's peeling
Choosing the CineAlta
you almost couldn't build
Brad Anderson: Session 9 was written for this location, the

Danvers State Mental Hospital, which is about 30 minutes north
of Boston. Just like in the movie, it was closed down in the eighties. It's state property now, and a lot of film productions have
The Crucible, for instance. But no
used it for production offices
one's used
to
it
Some
gerous.
make an
actual movie,
of the building
think because
more
is
building are falling to pieces. Floors are collapsing

asbestos everywhere. Because
had
it's
so dan-
But parts of the
intact.
and there
a connection at the
why we
the details. That's
if
off, all
the production value that
you wanted
to.
We
wanted
to
keep
didn't go mini-DV.
Anderson: This is probably the first straightforward narrative

shot on HD 24p without it being part of the whole marketing of
the movie. There are a bunch of movies shooting now with people jumping on this. The big one is George Lucas' new Star Wars
movie. But that film is all about digital effects. This is a straightforward narrative that was shot with this camera not to be flashy
is
Mass
or crazy about
it.
Film Office, we were able to convince them to give us permis-
We
sion.
had
to sign
some amazing
waivers.
always had a notion of making a horror movie there.
I'd
My
hooked up with these guys who

and explore abandoned
buildings and military facilities. So they took us up there on a little day trip. We went to the morgue, down in the tunnels, up in
cowriter Steve
Gevodan and
are urban spelunkers; they break in
Storyboards and lighting timetables

Anderson:
a corporate, studio-type approach.
We
wanted
We
And
and weird
Out
there were crazy stairwells and tunnels.
started to get the seeds of the movie.
It
on the
shit
was fun,
walls.
of that,
like
we
being pre-
sented with a ton of cool locations and weaving the story around
that.
and
it's
original intention
was to do
it
in a kind of quick,
Dogme
because we had no money.
It was pitched as a cool

Chuck and Buck type thing. Then USAFilms
pitched in the money. But when we visited the location again, we
thought, if we're going to do this right and want to see this loca-
sort of way,
project,
tion...
and orchestrate
took a
and
but
Briesewitz:
it
was
We
just like
when you go
did a test with Sony's
DSR
500
DVCam,
any other video. The close-ups hold up okay,
to the wider shots,
it
Films;
it's
we had
more of
to be prepared.
many
also the nature of the
respects, driven
more by
and
500 with
I'd edit
Imovie. So
era,
shots.
DSR
and you
me
during prep.
We
shot a lot with
together video storyboards on
we had
my
laptop with
video cammatch it with HD. That was very helpful and

You could literally point to the scene on my lapa lot of scenes shot with this
little
just
sped things up.
top and just play the scene to the gaffer or whatnot.

in preparation
was create lighting
we were going to use a lot of available light.

Particularly in places like the gym and the kitchen, which are
huge spaces and we had very little ability to light. So we needed
to know when light was coming through these windows. I used
charts, because
my
little digital
camera and took
five
seconds of footage at 9
That really determined our

shooting schedule. We knew we had to be shooting in this room
between these hours if we were going to be able to get the light.
a.m., five at
Uta
mess around. There's
just
a visually told story, in
Another thing we did
The
DV
because
also
were shooting in a very precarious location and didn't want
that,
files
and
time,
atmosphere and tone than by dialogue. So we wanted to create
the attic, and found patients'
time, both because
first
USA
to go in
storyboarded for
was
little
story:
it
very
noon,
five at 4 p.m.
gets really mushy. That's
one of the strengths of the [HD] camera: you have a great reproduction of
I
had
Match. So
best
Handling darks
detail.
just
done
HD
on another
thought that
we can
get.
if
we have
suggested
HD
film,
Derek Simons' 7 and a
to go video,
to Brad,
let's
go with the
and that same
after-
noon, he looked at a sample in Boston and was totally sold on
came
After that, the option of going to film never really

[Ed.: In addition, Session
ly
completed
mental
HD. He was
CineAlta from Sony before
market, as well as the company's
full
its
release
instru-
on the
cooperation.]
The
lot
of the scary
idea of staging this grim
ing to
me
We
did an
[HD
to
35mm
some of these wide shots blown

on the trees. You see all the little
transfer] test
and looked
at
up; you could count the leaves

bricks.
The
resolution
is
incred-
were shooting on smaller cameras that didn't have the

resolution, those wide shots would be useless, unless you wanted
ible. If
an awful
soft look.
Briesewitz:
And
this place actually
in regular sunlit rooms.
story in this place
was
intrigu-
horror movie genre, where
all
not only an
but also a technical choice. Shooting
artistic choice,
package would be
the monsters lurk in shadows.
It's
with a limited budget for the lighting
really hard.
How
building that's supposed to be
do you light the interior o\ a

abandoned without having that
cheesy blue-lit effect?
But one of the interesting things about deciding to go
HD was
ignoring the tradition rules about video, like 'avoid bright highlights'
has a lot of beauty. Incredible
moments
little
in trying to find a pointed counterpoint to the typical
at night in this location
Anderson:
Anderson: We shot a lot of dark scenes; it is a horror movie. But

compared to a conventional horror movie, where the big climax
happens on some dark stormy night in an abandoned house, we
chose to stage a
9 producer David Collins had recent-
multiformat feature utilizing
in getting a
it.
up.
and 'avoid going into
dark.'
We
liked playing with the
extremes. We've got guys in white suits going out in broad day-
April
2001
THE INDEPENDENT
35
we've
light;
tunnels
Zenon
little
got
keep
by one
lit
the
flash-
felt
that
Our
Briesewitz:
it's
pushed
incredibly low that
photogra-
'Even
said,
use a very, very
Brad and
agreed
that
film,
highlights
Some
here.'
of the interior
Briesewitz loved and
Like
DVCams
felt
those scenes in a
(inset)
during the Reagan years.
tunnel.
with the
just
The mental
institute,
closed
Anderson: This
We
glaring sun.
we
had the same

on the camera through very heavy diffusion,
did
in.
fill
flashlight
mounted
like three sheets
how much we
did a test for that to see
of
We
blew
it
35mm
up to
to see
Briesewitz:
We
wanted
many ways you can
how much
you
detail
There
to be as natural as possible.
So you
really see
nothing
this flashlight;
What amazed me
with
decided,
be able to light them
had
really big locations, like people
because
that scene was only two-
had
my eye,
to adapt
by looking what
to take a look
first at
because usually with
would have
the
to
fill
in.
film,
But with
would know
this,
less
was more. You very
easily
can
it.
When
Brad and
a very clean negative
tration.
But we wanted
eye
on
talked about creating a look,
that's
why we decided
tell
in this
say, "It's a little bit
little
fps
camera
to create a look in the
visually. In
HDW-700
my
other
1080i camera],
HD
as
light the interior
36
inside a
my
we
much
real
first,
problem
for you.
April 2001
think that's one of
DP
on
it
sees the
movie come
because you're so close with your eye, you

a big screen;
you
feel
feel like
very connected to the actors.
I was enthusiastic about many things about this camend of the day, I felt like I had no feeling for what I
Because I didn't really see the film; I saw a black and white
as
era, at the
image.
The
thing
image.
It's
is,
although
image.
And
mined by
just like
the problem
color.
highlights
Operators
it's
HD,
It's
know
is,
so
much
different
mushy
little
of your framing
thing,
is
video
deter-
looking through the
up to check your frame.
say they don't
viewfinder or say they can even

just to
not a better viewfinder
it's
on any other Betacam
viewfinder, then looking
would control the window

more to bring the f-stops closer together and
THE INDEPENDENT
the performances,
sometimes hard to
fil-
room with a winnet it down and
It's
the things they need to change.
film [shot with Sony's
would control
much more. When shooting somebody

dow, very often
who watches
too soft."
black-and-white viewfinder.
Anderson: That was a
shot.
against
had already done an HD film before, but not 24p. So I knew

what I wanted to test: not so much how this camera works, but
30
above
HD field monitor, you can definitely see
He's not just a director
it.
but will also
behaves
So we
monitor
field
good
as possible.
it
far
the focus, which was helpful to us, because Brad really has his
As much
wanted
how
rules.
them burn
thought that was a pretty good look.
just
Briesewitz: There's a saying that the
and highlights
Briesewitz:
On
Briesewitz:
you see
.
lightlights, really let
The viewfinder &
together
do everything we were expected not
you get a look when you break the
And we
they go
angels. Let's
knew
HD field monitor, because these lenses
read differently. Sometimes
tend to overlight
moment
little
else.
we couldn't afford to put up tons of condors

we would put on a prime lens and be just amazed at how
much light we would get out of the camera.
I
suits that are a little
no, the
these glowy white
this idea. Let's
push the
let's
sees
eighths of a page, and
just
felt
aren't
walking through hallways forever and ever, and knew we wouldn't
them become
outside, let
to do. Usually
what he
be fucked by the
the most with the CineAlta were the low
When we
light situations.
really
wondered, 'should we have
toned down?' But ultimately we
the limit.
with
were concerned we'd
it.
just play
light a tunnel.
We
Briesewitz:
could push
You get pretty much.
get.
movie where the guys are often
is
other.
brightness of the suits.
bit
Anderson:
on the
walking around in these white asbestos uniforms outside in the
[actors'] flashlights.
We
couldn't
lit
Briesewitz: But
paper.
fps
24p on the highlights and the

contrast that enabled me to do something
to the
couldn't capture.
steam
looked.
saw an improvement from the 30
walls that Anderson and
These were
we
the
still
can't get exposure
Anderson:
test,
actually
how
liked
fast
When we
looked at the
pher came up to
me and
the
to
it
extreme.
still
tested
the CineAlta and
were very often so
if I
away
video.
Then we
situations
light
the highlights
always give
light.
the
high-
because
lights,
have the option to go
mind the black and white
see their focus a little better.

to color
would be
great.
But
[Ed:
Panavision
is
developing a color viewfinder for their version of
the 24p camera, which takes Sony's
model and couples
with
it
Panavision's viewfinder and Primo lenses.]
Anderson:
It's
also a
it
problem when you're shooting Steadicam
and
she's
little bit.
Briesewitz: Because of this building,
going mushy?'
Is this
have. To
the truth,
tell
with a meter.
or handheld, because you can't connect to the monitor,
winging
black?
we had major problems
get-
good wireless transmission of the image. Very often, we

would have a Steadicam shot and could not see anything.
ting a
we could rewind and take a look. That's an advantage.

on handheld shots, this camera is more pleasant, I have
to say. It's a little bit lighter, and it fits nicely. If you have a heavy
camera on your shoulder, it makes you more steady. But if you
run behind somebody in a tunnel and there's muddy ground or
whatever, it feels good to have this camera on your shoulder.
And I can always easily take my eye off the lens and shake things.
Even when I'm running, I can hold the camera and look straight.
I don't have to have my eye on the viewfinder.
Luckily,
Also,
because you really
Anderson: But
DP's work is up
dynamic
haven't found a purpose for
and runs around

it
yet,
light to the monitor.
disadvantage of
that's also the
It's
it.
like the
for public approval.
Or
the monitor, and everyone else throwing in ideas.
the pro-
had no idea my color looks like

this.' Of course, everybody should be respected and heard, but
sometimes I was wondering it this opens up a place for too many
duction designer saying, 'Oh,
opinions.
Anderson:
It
was the same when Avids replaced
denly everyone could be an editor.
and
in a
have
flatbeds; sud-
producer could come in
matter of hours recut the scene easily and quickly, and
his version of the film.
different
think
different
HD
Briesewitz: All of a sudden, you can find the producer behind
dynamic
Briesewitz: But
go to the monitor and see what
someone shoots
don't know,
if
if
would be
DP
for a
I
were
It's
the same with
my
student shooting
worried shooting
less
this.
That's a very
in particular.
HD
first
feature,
than shooting
film.
There's not this anxiety of sending the dailies to the lab, and
then you get
Anderson: For me the big advantage was being able to sit there
and watch on the monitor what I was getting. You do that on a
regular
movie with
quality.
Here you're getting the image
a film
shoot as well, but you don't get the

right
When you light

monitor. We didn't use a
from the camera on
a high definition monitor.
the movie, you light
according to the
meter once.
Briesewitz: You don't need to run around and ask,
'Is
it
Anderson:
that the
it
I'd
back and
going
'Oh, what have
say to any directors considering
done?'
HD, make
certain
DP you're working with is gung-ho about working in this

The
kind of [collaborative] way.
much more
director has a
chance
to be
involved in that process, and some DPs are protec-
tive of their skills
this
it's,
and
role in the
Patricia
Thomson
(L)
in
is
filmmaking process.
editor in chief of
The Independent.
With scenes set inside dark steam tunnels or out
the glaring sunlight, the Session 9 team
know
intimately
highlights
how
came
to
the CineAlta handles blacks and
normally a stumbling block for video.
T>(L
&
R):
aspect
Two shots taken

ratio, lighting,
directly
from the
HD
master, showing
and spooky The S/H'n/ng-like
interiors.
Budget-conscious Anderson and Briesewitz created graphs that

charted the natural
light in
each room during the course
of the day.
April
2001
THE INDEPENDENT
37
(M
rs -
<"; <.
~f. r j'
r )
<"
i
c "t-~ *<
gamma
easily as black
The groupings
tings.
most
logical for the
Hi-Def in High Relief
hierarchy
or skin detail set-
pages are
but there
part,
is
no
those items you
separate
to
menu
o{
should rarely touch from those you can

adjust with impunity. This single -wheel
Filmmaking with Sony's CineAlta
Digital
approach to programming the camera
by
After Sony unveiled
the
NAB
convention
its
last
CineAlta at
year and pro-
some amazing sample
jected
many
Robert M. Goodman
footage,
I,
24 frames per second segmented frame

scan mode has received
progressive
all
of the press attention. However, the cam-
others in the room, was eager
era also records at 23.97p (a multiple of
to test this 24 frame progressive high-def-
standard interlaced video rate of 29.97),
like
inition video camera.
So when Plus 8
NY/LA rental house that has

HDTV, offered to loan me a
CineAlta HDW-F900 camcorder to
Video, a
in 25p, 30p, 50i (25 frames per

interlaced), or in 60i, the
The
plunged into
jumped at the chance.

The Sony HDW-F900 can be
test,
ured
for
cinematography,
digital
using
prime
zoom
lenses,
offline
gamma
equipped with
HDW-F900
the
tery,
pounds.
weighs over 25
heavier than a typical cam-
It's
though the camera was well
The
camera's weight
ciably lower in
Handheld
very
manual zoom
and an Anton Bauer Hytron 100 bat-
its
even
use,
ENG
is
bal-
not appre-
configuration.
for short periods,
was
tiring.
editing systems to
LENSES
manual
and
When
lens
anced.
(audio sync), and the ability of
config-
the look and
of the camera far easier to do.
corder,
or 30 fps variants),
fps
for these functions
made modifying
around time-
double system sound recording
paint box offers knob
and switch controls
NTSC frame rate.
issues revolve
code (24
second
RM-B150 remote
that
is
ENG style production. The
holdover from
with servo zoom lenses for
The CineAlta camera uses the standard

B4 lens mount found on every 2/3" CCD
ENG/EFP
video, but the lenses are far superior.
The
use.
Plus
sories
equipped
or
Follow
manufacturers assumed, at
would be able
motion picture
Extension
Engineering
Viewfinder,
me
Ahakus
an
included
acces-
loaned
HDTV
Chrosziel
Focus,
EDLs
Preston Micro-
zoom
force
control,
audio on the
O'Connor 2575
shoot
legs,
box, and a Plus 8 front box.
primes
40mm
an online
5mm
T1.7,
The
12mm
edit.
you record
HDCAM
23.97.
at
recorder,
If
tape,
you
DAT
shoot at 24fps.
Before you offline on an
included:
of lenses
if
record on a Nagra or
Plus
8 Design 6x6 swing-away matte
complement
for
In a nutshell,
head with Ronford
accurate
create
four
T1.5, and
15mm
T1.5 from Fujinon plus a
Avid,
visit
www.24p.com
to learn
more
a 11.5x5.3
T1.9 Angenieux and
a 9x5.5 T2.3 Canon; three ENG/EFP

servo zoom lenses
a 20x7.5 T1.2 and
10x5.2 T1.3 Fujinon and a 18x7.8 T2.3
Canon; and two
lens adaptors to
Nikon
on the F900.
still
lenses
mount
PREPRODUCTION PREP
I
spent half a day going over the camera
with Plus
tests.
8's
chief engineer prior to our
There are decisions that need
to be
made before you shoot with this camera.

The F900 can record in a variety of frame
rates. The choice has a significant impact
on how audio recording and postproduction must be handled. The 24p frame rate
38
THE INDEPENDENT
April 2001
35mm
adapt their
to
lenses
Most
that they
HDTV. But
for
reveals every imperfection in lens
The
design.
CCDs
perfectly flat surface of the
and the
weaving
fact that there
in
slightly
is
gate
no
film
quickly
The manufac-
destroyed that approach.
had to design new lenses.

Even Nikon still lenses come up
turers
We
tried using the
three different lenses.
None were
enough
tion free or sharp
short.
Nikon adaptors with

aberra-
to use. Plus 8
you
about the issues surrounding editing 24p
has found that
footage.
keep trying until you find a lens sharp
T2.3 from Canon; two cine-style zoom

lenses
first,
enough
CAMERA ERGONOMICS
for
it's
hit or miss
just
HDTV.
The prime and
cine -style
manual zoom
Anyone who's ever used a Sony broadcast
HDTV
camera
ment of the camera's switches and controls. The filter wheels, white balance
and distance marks. The focal-length

markings on the zooms are also clear.
Unfortunately, none of the manufacturers
switches, deck controls, start/stop trigger,
have a clear understanding of the working
will
be familiar with the place-
lenses
have highly
visible T-stop
gain settings, audio mixing controls, and
distances (camera to subject distance) at
memory
which most
stick slot
correspond with cur-
Sony camcorders.
A menu selection wheel on the bottom
front of the camera provides access to five
categories of menus, all of which have
rent and older
numerous
total
pages.
The
paint category offers
control over the camera settings.
That's
terrific
The main
and extremely dangerous.
color
gamut can be adjusted
as
films
are
shot.
Numerous
focus marks delineate the one to eight

feet range. Yet, only
one or two marks
exist in the 10 feet to infinity range.
depth of
35mm
HDTV
field in
film,
so
However, focus
is
is
there's
some leeway.
extremely
critical
the final image could be projected

sixty-foot screen.
The
greater than in
when
on a
The
2"
HD 24F)
ENG
Betacam
typical
controls
viewfind-
similar to a
is
camera. There are
and
contrast,
brightness,
for
tiny
HDW~F900's
design of the
(HDVF-20A
er
The peaking control must

be turned down or everything in the
peaking. (Tip:
viewfinder appears to be in focus whether

2"
it is or not.) The viewfinder display is a
RGB HD
black-and-white
of resolving 500 lines
HDTV
CRT, capable
at
nearly
four times
the resolution of the viewfinder.
image
The
center.
format can resolve 1920 lines of
horizontal resolution
The
CRT
reflected onto a mirror that
is
camera outdoors with a

Sony 8" portable HD monitor (BVMD9H5U) as our reference didn't seem like
a good idea. The image was too small to
accurately display and judge the subtle
changes this camera allows you to make.
Add outdoor glare and you have a pretion. Painting the
THE VIEWFINDER
is
magnified by a lens with diopter adjust-
scription
CameraPlanet
PICTURES
an unintentional disaster
for
that could cause havoc in post.
We
initial-
DIGITAL FILM CENTER
on the monitor to set focus and

exposure. However, we only had six
Hytron 100 batteries. The batteries powly relied
ered the camera for approximately five
hours or barely 45 minutes for the moni-
We
ended up using the monitor only

when absolutely necessary and relying on
tor.
a tape
measure to
DIGITAL VIDEO
of the five
menu
devoted to setting up the viewfinder

play.
ter
is
dis-
Everything from aspect ratio to shut-
set focus.
speed can appear in the viewfinder.
However, to
exposure you must rely on
set
the camera's two independent zebra settings or use
an external monitor or
The image
meter.
light
in the viewfinder has
not passed through the camera's shutter.

Consequently,
camera
looking at
dollies
the
past a highly patterned
background, such
may induce
while
it
chain link fence,
as a
mild motion sickness.
The
standard diopter's plastic lens does not
maintain
flat field
focus across the entire
image. Setting critical focus was extremely difficult
to
do with the viewfinder.
resolution
is
at
human
the limit of
eye can resolve for a
Its
what the
two inch
image. Critical focus must be set using a

tape measure or an external monitor.
a volunteer crew,
we
shot for two
days outdoors and a few hours indoors.
The
first
day had partial sun.
The second
was completely overcast. The only annoyance we experienced during the shoot was
the placement of the camera's record
ger.
When
the camera
is
trig-
fully tricked
out
with the follow focus, zoom motor, and
matte box,
it's
difficult for the
operator to
reach.
The
footage has spectacular color rendition
and exceptional
describe
it
detail.
The
best
35mm
'grainless
is
way
The BIMNtv.com Building

253 5th Avenue
to
New
film.' It all
A month
looked good on the 8" monitor.

later, on a 32"
monitor
HD
D32E1WU),
to Digi Beta
Transfer
barely scratched the
surface of this camera's capabilities.
(BVM-
could clearly see the good,
t:
e:
York, NY, 10016
212.779.0500 x227
[email protected]
www.CameraPlanetPictures.com
the bad, and the ugly. Focus was a problem.
Some zoom
chromatic
lenses
aberration
had noticeable
wide focal
at
lengths. But the great shots looked phenomenal on a large screen. If I were shooting, I'd insist on having a 24" or 32" monitor on set. It's too hard to judge what
you're doing on anything smaller.
I also watched some scenes that intercut 35mm and 24p HDCAM footage.
What
separated
was the
THE SHOOT
Using
SUMMARY
After three days,
Rooms
3 Turn-Key
Production Offices
DV
categories
SOUP TO NUTS
12 Avid Edit
ments to enlarge the image.
One
grain.
35mm
1080/24p from
The CineAlta camera
greater depth of field.
It
specular highlights
as
though the color gamut
has
doesn't reproduce
well
is
as
35mm,
Everything
nearly identical.
A CineAlta filmmaking package
included.
rents for
approximately $7,000 a week. (The camera retails for
Avid Media
around $100,000, and the
lenses from $10,000
minutes of tapestock
to
is
$50,000.)
Fifty
$70.
clear
It's
Composer
at rates the artist
on the cusp of a new era, because

digital filmmaking no longer means image
we're
quality has
bound
been compromised.
to get better
And
Off-line
can afford.
Manhattan
suite.
it's
and cheaper.
Plus 8 pre-programmed the camera's
memory
camera
for
shooting under high and low contrast
sit-
uations.
stick to optimize the
They made
their test facility

files
for
us.
So,
these adjustments in
and stored them
we had
Robert
Goodman [[email protected]
ASC's latest edition of Digital Video Manual and is an

award-winning writer and Emmy-nominated
wrote the camera and lens chapter for
as scene
three settings
director based in Philadelphia.
He
is
kitchen
Y
currently co-
producing the feature Gifts in the Mail.

Tel: (516)
810-7238
Fax (516) 421-6923
choices (high, low, and normal) on loca-
April
2001
THE INDEPENDENT
39
S3
who
as
Army
praise
of worthy obscurities.
Wars,
the
Roger Ebert
a studio
is
Small
about
Rosenbaum
Siskel
tory
was.
The
complex"
"media-industrial
turns most of the nation's film criticism
into
another form of publicity. The
American Film
a
Institute's
money-grubbing means
Top 100
to
from the studio
videos
plays directly to
The
a
PR
American
film
is
moronic
love
of
hype.
Hollywood's market research is designed
critics'
make
Miramax
appear
public
the
to
Films
stupid.
buys foreign-language
movies in order to bury them. Pauline
New
Kael, during her last years at the

Yorker,
initiated
campaign that
is
to the world of
How
Hollywood and
Limit
What
the
Media Conspire
We Can
Rosenbaum, esteemed
Movie Wars:
to
See by Jonathan
film critic at the
Chicago Reader and author of one of the
Films
sive,
pedantic bore.
What
the critic
to explain over the course of
bling pages
is
why
the mass audience
doesn't get exposed to great movies;
he
fails
pointing
to include
is
tries
225 ram-
amid
all
what
the finger-
any passionate description of
what's at stake.
insights
Movies and Movies as
Politics,
Rosen-
New
as
If
with smaller distributors
Yorker
among
Whether
more
are
ries
when
than
one of the clearer

points he makes in Movie
that, while the
ics,
the
that
than
smarter
prevent
they're
fans from
dumb-and-dumber cinema. The
rea-
who
favor incessant coverage of
studio dross have
vested interest in
maintaining the public's bad taste so as to

justify their
own
(and that of their corpo-
But
rate employers).
isn't
that merely the
mainstream part of the equation?
How
author
Adam
knowing about
Kiarostami, he's wrong that the Iranian

director
to find
failing
is
Rosenbaum
fond of
is
an audience.
(re) telling
the story
of Miramax's spiteful refusal to circulate

its
sole Kiarostami acquisition,
the Olive Trees;
Through
but actually, the movie has
managed to screen anyway, since, as one

Madison curator told me recently, the film
is
readily
available
through a specialty
fringes to allow public screenings of the
"nontheatrical distributor") that gets
despite
works
beloved
Hou
such tyranny
by
Abbas
Hsiao-hsien even
and
even in
fly-
over country?
Alas,
doesn't
much
deal
and exhibition
that has enabled the esoteric
likes
of
Flowers of Shanghai, Time Regained, and
Bean
Travail to enjoy
in smaller cities
extended exposure
perhaps because to do
would be to share credit with an entire

community of cineastes whose own struggles against the "media-industrial complex" have yielded positive results.
so
saying has
him
mainstream
(known
in
the
print through the evil
In
its
industry
doom-
as
a
its
Miramax.
convenient neglect of a thriving
subculture in favor of self-congratulatory

rabble-rousing, Movie Wars has
Rosenbaum
to
Sandler
outfit
Kiarostami and
is
mainstream
about what's been happening on the
critic's
say
to
is
media does "conspire"
Jonathan Rosenbaum
likely
taken to be, but bear the brunt of blame

for
Which
right that the
ticket-
specula-
critic's
tions.
is
credible
they stem from a
reporter's research rather
herald the
buying masses are
for years.
related to film
perspicacity of other crit-
\vars
Inter-
others
conspiracy theo-
or not,
Rosenbaum appears
to
Winstar
Films,
haven't needed to rely on
and the Media
as
Ironically, the author's relentless
In previous collections such as Placing
fortified ties
such
We Can See
with the newly reinvigorated noncorpo-
have
published in the Reader.
reluctant
U Film Societywhich,
Conspire to Limit What
matched the
as
other theaters around the country,
like
mini-major fare
of which,
rate circuit of distribution
most of what
Rosenbaum argues here in fact, I do
and still find his book to be an oppres-
way Theater, and
such
Street Cinema, Park-
How Hollywood
One can
with
Oak
Minneapolis's
But
hits.
venues
alternative
MOVIE WARS
film's
most unmitigated movie rants since John

Simon's last volume of collected pans.
agree
product in trade for
lesser
of the
critics"
provided the festival pays your way.
Films
finds
now
most mainstream magazines. The

Sundance Film Festival is an "industryrun" affair where audience members talk
on cell phones during screenings.
Cannes, on the other hand, is essential
fact,
Cinema, and Kino
soning goes that so-called "capitalist film
standard practice
its
in
taking inven-
own
author's
ing
national,
none
seems,
it
Dante's misinter-
an anti-world-cinema
at
Welcome
reviews
more
sell
vaults.
Danish Dogme 95 movement
scam that
list is
of 47
rest.
(an increas-
ing indie theaters to "play ball" by screen-
satire
Soldiers
Gene
as his late partner
story
toy
lackey, but he's not as ignorant
movies
In Movie
constructive,
isn't
A section on Joe
ative:
preted
this:
criticism
while even the raves accentuate the neg-
Rob Nelson
Consider
his righteous indignation
with chapters devoted to the lengthy
by Jonathan Rosenbaum; 234 pp.

Chicago: A Cappella Books; $24
by
knowledgeable and con-
a vastly
sciously political advocate of world cine-
See
and avoid discussion of the
tiplexes
Rosenbaum accuses Miramax
ingly familiar target of his tirades) of forc-
maleavened
baum
Movie Wars: How Hollywood and the

Media Conspire to Limit What Films
We Can
One
of
see corporate -owned arthouse chains

an "alternative" to shopping- mall mul-
common
ma"
more in
with those dire "death of cine-
screeds from a few years ago than
author would
likely care to admit.
its
At one
Rosenbaum suggests "we'd be

much better off if we had no film critics at
point,
all,"
although his mainstream-bashing
mission seems more like a ploy to get the

likes
of David
Denby and David Thomson
to write as rigorously about
Hou
hsien as he does. But something
Hsiao-
tells
me
the movie warrior would rather fight this

battle alone.
following suit with those
er,
capitalist
Rob Nelson
film
critics
Minneapolis.
is
film editor at Ciry Pages in
A version of this article originally

appeared in that publication.
40
THE INDEPENDENT
April 2001
investment.
To make matters worse,
intentional failure to comply
The Scoop
Do
overlook
not
Net
Calculating
opener.
The Biz: The Basic Business,

and Financial Aspects of
Legal,
by Schuyler M. Moore, 366 pp. Los

Angeles: Silman-James Press, $26.95
GUMNITSKY
it's
eye
real
provides a good understanding
It
trying
to attract
major talent to your next
film,
especially
if
you are not able to pay
their
A chapter on Credits
and
also well written
how you can
make them more meaningful when
top rate up front.
II
on
chapter
the
Profits;
of what net profits are and
Film
the
Industry
BY INNES
punishable
is
as a criminal offense.
'
is
help you in
will
negotiations with talent. Understanding

issues of guild jurisdiction, guild residuals,
Schuyler Moore's The Biz offers a

comprehensive and realistic overview of
The author
the film business.
certainly
and other guild requirements
save
will
headache. SAG,
example,
for
requires
took off his rose-colored
independent film com-
glasses while writing this
panies to deposit a large
volume, which may be
percentage of the actors'
particularly helpful
are
wearing a
still
you
if
sion and health benefits
lan-
with
the
guage
book
of
somewhat
the
few hours,
it
for you.
objective
ment,
Several chapters delve

into the basic principles
But
your
if
language,
clear
thing you need to

if
you
Each of its 23
if one
one's
copyright,
right
day you want to learn about raising
vative but practical approach:
money, and another you need to delve
doubt, leave
into distribution agreements, you can eas-
country
turn to the appropriate chapter.
many
readers will get lost in
pre-
some of
the chapters dealing with studio financing

(after
all,
the book
is
mandatory read
the author's students at
UCLA
for
School of
Law), but do not get discouraged. At the

very least, you will
know which
discuss with your lawyer
There
issues to
and accountant.
are things that you can
your own, which the book helps
do on
identify.
The chapter on Entities, for example,

explains why establishing a Limited
Liability Company (LLC) will be the right
choice 99 percent of the time. But other
things should only be
done with the help
of an experienced attorney.
The chapter
on Private Offerings makes
it
that
mistakes in compliance
securities
personally
laws can
liable
for
make
CUT PRO SUITES
AFTER EFFECTS
MOTION GRAPHICS
EXPERIENCED IN FEATURE LENGTH

3 3
4-8283
the
very clear
with
the
the producer
repayment of the
is
The author
it
and
preaches a conser-
"When
in
out." Getting sued in this
not a particularly enjoyable
experience, and
just
know
of publicity,
trademark.
dict
FINAL
some-
to avoid legal action for violating
chapters covers a distinct topic. So
ily
AND
author lays out every-
particularly useful
as a reference guide.
AVID
& Web Production
Using simple and
law.
the
is
/Analog
of intellectual property
entertain-
The Biz can be

it
the
in a
it
right choice.
treat
of
part
Film, Video
budget.
film's
may not
book
this
which
them,
becomes
information
is
than
rather
is
dry; if you plan
to skim through
work
compensation and pen-
pair.
Unfortunately,
Digital
you an enormous amount of time and
if
you don't believe me,
As
read the chapter on Litigation.
Moore notes, "Merely to be sued is

lose." Not only do you open yourself up
to
but even
if
potentially limitless
liability,
to
you win the case, you are usually stuck

with a huge legal
Overall,
bill.
The Biz does
a great job at
demystifying the film industry.

substitute for obtaining your
but
and
can save you a
it
trouble.
It
lot
It
own
cannot
lawyer,
of time, money,
can also add some
EXCELLENT RATES
EXPERIENCED EDITORS
disci-
pline to the process of producing a film,
and from what
NON LINEAR /LINEAR

OFF LINE /ON LINE
BETA SP, DV EDITING
CD-ROM OUTPUT
have observed, that
is
always a good thing.

Innes Gumnitsky [[email protected]]
New
Cowan, DeBaets, Abrahams

will be
is
(21 2)-21 9-9240
York-based entertainment attorney at
moderating a
& Sheppard.
She
EMAIL:
[email protected]
series of legal discussions at
AIVF from May-November
(see pg. 60).
April
2001
THE INDEPENDENT
41
^
marketing and
LOT 47 FILMS
LlSSA GlBBS
yH
"7~^
New
-..-.
We
is
"
V
What
York,
St.,
NY 10010
month he went
next
competed
festival.
Contact: Jeff Lipsky, Co-President
discovered what the film
joined the
tion
company as
and
services;
He asked
Danae
company as
Kokenos,
Scott Lipsky.
pany
Jeff.
in
July
1999 by brothers
third brother,
Jeff
Mark, joined the com-
Scott holds the
Shortly after the
title
of
chairman and CEO.
number
of
He showed
vice president of acquisi-
employees
at Lot 47:
in
It
was
New
Altyn, formerly
an executive
and com-
Jr.
whom
They both agreed
Gottlieb.
the morning on a cold night
in
Jeff sat
commiserating with Tim Roth
he had begun to form a bond) and his
producer, Dixie Linder, that he blurted out that he
How, when, and why did Lot 47
come
into
had a brother
financing.
Yorker
was
Jeff Lipsky's
in
incorporated.
Tim Roth's The War Zone that
led to the
at Stratosphere,
formation of the company. He
was
the head of
Seattle with
Two months
passionate determination to
of publicity;
distribute
Dawn
then-assistant,
acquiring but couldn't strike a
at one
Cannes as
(with
Seven
It
47 as vice-president
with
Samuel Goldwyn,
to
was worth
it
being?
Films, joined Lot
it
pany President Meyer
company was formed, Mary Ann
Hult, formerly of Fox Searchlight and
his
it
deal.
Total
York prior to the
Films,
and
January 2001 serving as co-president with
New
They were blown away by the
that
in
unusual, spe-
brilliant,
in
he
about and
Christie Colliopoulos.
formerly
Samuel Goldwyn
Lot 47?
was co-founded
really
AFM and watched
tions.
It
was
it
film. After Berlin
was
see a print
to
The
Roth).
vice president of distribu-
Director of Acquisitions for
joined the
Tim
section of that city's
He again avoided the
began hearing that

cial.
the United States.
is
Panorama
the
in
the
in
Bosnia and
in
where The War Zone
to Berlin
[email protected]; www.lot47.com
Lot 47 Films?
War Zone
Quentin Tarantino movies (whose
like
films he closely associated with
5th floor,
film.
Who
see a movie about the war
(646) 638-4747; fax: 638-4757
are one of the few independent film distributors
left in
to
he didn't
w
Lot 47 Films, 26 W. 23rd
Samuel Goldwyn
at
1999. The
early
avoided the film because he wasn't
Jeff
mood
world premiered at the Sundance Film Festival, but
BY
sa^
distribution
Films at the time
Six
months
access
Lot
later
brother's
Jeff's
later,
some
to
47 Films was
enthusiasm about what had been achieved on The
War Zone prompted him

47 a permanent part
tion
suggest they make Lot
to
of the
independent distribu-
firmament.
What's the driving philosophy behind Lot 47?

Our mandate
is
three-pronged. One:
we
will
con-
tinue to provide moviegoers with a broad cross-
section of diverse independent American features,
great documentaries, and the kind of foreign lan-
guage films that once moved

will
will
endeavor
a generation. Two:
an educational
to lead
we
initiative that
address the next generation of moviegoers:
that generation of children
now
just entering junior
high school (the college kids of today are already a

lost
cause).
We
will
work with the educational
community, the exhibition community, and with our

distributor competitors to give this potential audi-
ence,
from
coast-to-coast,
sense
about American independent film (that
of
history
is,
the 20
years of independent cinema pre-Tarantino). And
Two Lot 47
films: Harry Sinclair's
The Price of Milk
Kwon Taek's masterly Chunhyang, the
story of two
from different worlds who are torn apart.
42
THE INDEPENDENT
April
2001
(left),
three:
we
ration
and execution
expect to lead the industry
and Im
young lovers
of
new means
in
the explo-
of digital distri-
ACCEPT OR EXCEPT? AFFECT OR EFFECT? THAN OR
bution, while not forsaking the experience of seeing
feature films
conventional theaters.
in
What's the origin
canyoupresHhis.com
company's name?
of the
web
You'll
have
What
did Lot 47's founders do before Lot 47?
to visit our
site to find that out.
two years
for the history of our founders,
As
Lot
47
Head
prior to
They're... their... there now!

Had all the script consulting you
can take? Ready to submit?
had rejoined Samuel Goldwyn Films as
Jeff
&
Marketing
of U.S.
A former
Distribution.
consultant to Bravo Television's Independent Film
Channel,
worked as
also
Jeff
President
the
of
Motion Picture Division at Skouras Pictures, but
1990
in
October
form
order to
in
Bingham
Films
with
President of Distribution for the Samuel Goldwyn
He began
Films.
New
Sales Manager of
Yorker
working with his friend
his career
and mentor, John Cassavetes, and Cassavetes'

landmark distribution company, Faces
Distribution.
Over the years,
in
Jeff
has been involved
But wait!
left
Ray. Previously Jeff had served as Vice
Company and General
Your
script
won't
get
past
a
studio
executive's trash can if your format and
spelling aren't up to snuff.
Trust your
masterpiece to experienced industry experts...
We'll worry about the form, so you can focus
on the content.
(323) 662-0297
the distri-
toll-free:
bution
such notable films as Stranger Than
of
(866) 99-PROOF
My
[email protected]
Dinner with Andre, The Marriage of Maria Braun,
www.canyouproofthis.com
My
Paradise,
as a Dog,
Life
Life Is
Sweet,
and The Last Seduction. As a filmmaker,
and
the
directed
acclaimed
critically
wrote
Jeff
Everything your spelling checker misses!
feature
Ataaboc, LLC
Childhood's End.
Scott Lipsky
is
co-founders and
one
its
of
Seattle-based Avenue A's
COMPLEMENT OR COMPLIMENT? PEDDLE OR PEDAL?
Chief Technologist, responsible
development,
planning,
for
professional proofreading and formatting
implementation
and
support of the organization's proprietary strategic
systems and solutions. He
digital
Avenue
also leading
in
global
iyK\
media, including interactive TV and wireless.
A veteran
Scott
is
and strategic development
A's technology
is
of both
Amazon.com and Barnes &
well versed
in
Noble,
strategic planning, corporate
"From
Rawstock's
services were everything needed."
expansion, technology planning, Internet marketing,
&
content acquisition
ment
of
and the develop-
licensing,
new products and
services
in
is
the field of
Brett
Strategic Relations
division of
of Sales
Miramax
and Marketing
his
& Marketing for
Consumer Marketing
VP
20 years
at
in
rallied
WOOD JR.
Singingfish.com,
at Bravo Networks,
and Marketing
Films,
Miramax
&
Web
Classes
at Prestige, a
and Senior VP
Sales
of
The #1 choice
to help
independent filmmakers realize their dreams:
Films. Over the course of
the entertainment industry he has
been recognized as an advocate
and has
D.
company, Mark Lipsky was VP
Prior to joining the
Executive
Thompson, Screenwriter/ Director.
new media.
Director of
freedom
of artistic
successfully against censorship
in
the motion picture industry, most notably against

the MPAA's "X" and
"NC-17"
ratings.
Filmstock
& Videotape
The difference between Lot 47 and other

utors of independent films
that
we won't
acquire
is.
movies simply
pipeline, or to build a film library without

for the shorter
to
expensive now than
Making feature films

it
fill
any regard
term goals, aspirations, and
of our filmmakers.
Camera Rentals
& Tech Services
Final
Cut Pro
Final
Cut pro
Edit Suites
distrib-
(DR.
RAWSTOCKl
-^
.
^-Al
I
<"K^,l<>/i/v-,~,
1/A^M \fi^Wto
is
less
Call us
800.323.4647
www DRRAVsTOCK.co m
.
profits
The place
for
your movie.
6150 Santa Monica
Blvd.
Hollywood
CA 90038
has ever been while market-
April
2001
THE INDEPENDENT
43
juvr
GE
^BIrYam
22 a-*
as
well
get back to
methods and sheer inge-
basics, using grassroots

nuity,
We want to
have skyrocketed.
ing costs
as taking advantage
unique
of
Internet marketing opportunities to mitigate
ally
We
provide
and
artists
Party.
Lot 47 also involved in co-production or co-
thereby creating higher
financing of works?
company and
profits for the
filmmakers.
its
Lot
broadcast
to
video
quality
post-production
services
at
How many works
about Lot 47?
in
to
with digital video producers Jason Kliot and Joana
Tim Roth's The War Zone; Aiyana
Elliott's
Festival award-winning, autobio-
&
Buck, Series
7), to
release eight films over the next three years. This

is
not,
most
however, a production deal. The sure-fire,
towards disaster
direct path
for a distributor
$1 75/hr
graphical chronicle of her legendary father Jack
$1 20/hr.
$ 85/hr.
Animation Stand
$ 85/hr.
Post
Ballad
The
Elliott,
Digital Audio
commitment
your col-
months we have acquired 10 completed
Sundance Film
its
the next motion picture revolution by partnering
Vicente of Blow Up [Chuck
only 18
films:
are
47 Films has also affirmed
to learn
lection?
In
discount rates.
youth oriented comedy comes from
some
Is
of the cost of marketing,
stylized,
Gary Burns, director of the acclaimed film Kitchen
of
Ramblm'
Jack-
Tonie
modicum
that possesses a
bution
expertise
is
to
of
marketing and
assume
it
distri-
automatically
Marshall's Venus Beauty Institute;
$ 85/hr.
Stavros Kazantzidis'
Russian Doll finds
Hugo Weaving and
Contact Us for Services &
Natalia Novikova
Info.
a marriage of
in
convenience.
PO Box
Tel:
184 NY,
NY 10012-0004
(below)
212.219.0951
Fax: 212.219.0563
www.standby.org
Anna Thomson
plays Bella
Amos
in
Kolleck's
Fast Food
Fast Women.
CALL US!
1-800-431-2050 ext 121
Chunhyang,
Kwon Taek's
Im
97th feature film and the
first
Korean film ever selected for the
Human
Relations
Media
Main Competition at the Cannes
has been a leading
Film
Festival;
The
Price
educational videos/print for
Danielle
Urban
unique,

story
Harry
Cormack
in
an
new
starring
and
Karl
extraordinarily
almost indescribable
set
in
New
Zealand;
&
Christopher Livingston's Hit
Runway, winner
We're looking for
Sinclair's
of Milk,
Screenplay Award
Best
the
of
at
Los
the
Angeles Independent Film Festival and the U.S.
Comedy
Arts
Australian
#Ktoi
Festival
Academy Award nominee Russian
arrives
in
Australia
Drive, Mt. Kisco.
www.hrmvideo.com
NY
of
her
find
to
dead; Fast Food Fast
from the director

Kensico
2000
Doll
by Stavros Kazantzidis, a funny and touching love
mam
41
the
story about a Jewish Russian mail order bride
800-431-2050
Aspen;
in
Women,
who
husband-to-be
the
first
Sue and Fiona, Amos
comedy
Kolleck
letters hrmvideo.com
(son of former mayor of Jerusalem, Teddy Kolleck)
which world premiered
2000 Cannes Film
in
the Main Competition at
Festival
and blew away the
audience at the 2000 Toronto International Film

Festival;
THE INDEPENDENT
skill
set required to produce
motion pictures. Wrong! That
level
of vanity
is
unaffordable and helps perpetuate mediocrity and

contributes to a general glut of product
marketplace that
By
joint
is
in
a limited
already bursting at the seams.
venturing with qualified visionary produc-
ers like Jason
and Joana we are merely a conduit
allowing complete artistic freedom to filmmakers
10549
Fax:914-244-0485
the
44
boasts the
April 2001
and waydowntown.
a cutting edge, visu-
exploring the
exploit
early
DV
frontier,
while gaining access to
marketing opportunities that had
heretofore not been available to
based distributors.
most acquisitions-
to releasing a title?
We
America.
acquire
about 10-12
our
rights in North
all
becomes
titles
times the number
would not allow
showcase
many
10 times as
unfocused, lacking
How do you
We
This
falling over
each
how
of
media
(equally lazy)
them. Distributors,
in
film editors) lets
(in particular,
committees do
work
their
media do
turn, let the
in
85 years
is
its
Ifyour new work
is
and other
worldwide.
institutions
510-643-2788
[email protected]
for
47 buys films because we have a pasand because we think the pur-
chase
not
does
price
been
us to consider
have
have
or
award-winner at an international
have the imprimatur
make-it-or-
film doesn't
Sundance,
by
selected
constitute
break-it arrangement.
tool
idV
have
to
been
an
ce
of a high profile film critic for
it.
|lp
|kies
walk
advice
bit of
When one
'
them
make
their movie.
make
self.
for.
If
And
if
symposiums
we each
die
serv
then they
'no,'
is
We
number
all
Do something worth
for your-
it
Upcoming
titles to
our daily lives. No one
in
suppose.
We're
one stop
digital
video house
same
your film, your potential audi-
are superheroes
Silver,
of the
the millions. None of us, how-
in
except Joel
some
share
the viewer can identify with
if
in
bvideo
we
they don't
if
you make a movie, make
experiences and
will
ices
try to
you're true to yourself, you'll be addressing a
just one character
ever,
will
the answer
If
the movie.
universal audience.
ence
they
if
(a
dubbin
(the directors, not the producers) that they
shouldn't
dying
or at
a conduit of advice,
must ask themselves
ideo
vi
speaks on panels
of us
filmmakers as
would be
it
vi
,hones_
film festival, or
one
life
call.
work
sion for the product
tell
distributor,
them, and filmmakers and consumers suffer as
a result. Lot
If
with
has become. The
lazy the industry
film festival selection
find the films you distribute?
are just as culpable as every other distributor
terms
for
titles.
communication.
in
No
we had 10
If
employees we do now, that
of
for
would only mean we'd have people

other,
acquire
a driver.
title,
between the cracks.
tilm will ever tall
We
per year. Each and every one ot
titles
&

118 West 22nd Street MYC 1001
1
We
watch
take considerable pride
212.243-8800
for:
in
fax
691-6961
we saw
the fact that
a video cassette of an unheralded French film last
summer,
results
a film that
in its
met with
limited
box office
homeland, and on the basis
of our love
and a reasonable
of the film,
summer 2001
tentpole
deal,
The
release.
AVID EDIT SUITES

OFFLINE /ON LINE/3DFX
now our
is
it
film
is
The
Beating of Butterfly Wings, which you might not
have heard
of
yet, but
it
summer! Coming across
by the end of the

I
did,
to
it
was
watch
the
you goddamned
first film
a cassette of
since
will
it
had
thought fallow.
been doing
is
felt like
in
a field
suddenly remembered why
this for
Lissa Gibbs
/Read
To Picture
VOICE
1D4 WEST Z9TH ST NY 10001

to
212.244.0744
I've
27 years.
and former Film
V.O. Booth
The Unbelievable Truth by
discovered a great harvest
truly
way
had been "forced"
then first-time filmmaker Hal Hartley, that

I
the

have
212.24-4,0690
The Independent
April
200]
THE INDEPENDENT
45
^JfciUAm
William Tyrer and Chris Ball.
NEWMARKET CAPITAL GROUP
Do you look
Michelle Coe
'
at all projects firstly as possible
investments and then offer loan financing to

those which appeal to you but which you decide
not to invest in?
How many
project submis-
sions do you receive annu-
NewMarket
Capital
Group
ally?
What
submitted to funded?
Beverly
CA 90210
Hills,
We
normally
to
25-30 projects a week and,

Contact: Aaron Ryder, acquisitions
film school
my
math's not
only
ratio is.
make
not sure
I'm
year.
what that
NewMarket Capital?
we
mentioned,
6-10 per
We
went
(I
NewMarket come
into being?
The company was started several years ago by
We
try to
of projects
that level.
so
slate,
one specific genre
say, however, that
have a commercial
all
we
Christopher
or type of film.
is
factors of projects
versus those you
different.
of
lot
finance?
will
it
depends on
who's involved, how much the budget

strong the material
is
is,
how
and the elements attached.

of
What types
nitely not
Memento,
is
entering the
would NewMarket
us to fund smaller art films with
commercial appeal unless the director
limited
is
distributor
ring with this
as well.
someone we
if
an exceptional
film, or
the project has higher-named cast attached.
What
feel will deliver
it
Do you
offer your loan-funded
No, not really.
in
development, or
can producers approach you for finishing
round?
As
open
in
the production or distribution phases?
funds?
is
filmmakers any
additional support on their projects either
deadlines or can producers approach you year
The door
varies from project to project.
Yes, but
Do you fund projects only
your funding cycle? Are there hard
is
Are there time frame restrictions within which
defi-
fund?
It's difficult for
complicated question and not that inter-
the funds must be used?
sensibility.
of projects
is
esting.
our projects need to
of
Nolan's
film,
will invest in
Each project
This
don't neces-
After financing
NewMarket
you
What are the basic terms and conditions
do you seek?
keep a diverse
sarily look at
would
c0
d Vwe*e**-
more involved with loan
financed projects?
What types
did
be
rare for us to get involved at
to
strong subject.)
are an independant film financing company.
When and why
to
now
it's
What are the distinguishing

up
receive
(310) 858-7472; fax: 858-7473

as
is
financing,
202 North Canon Drive
rgÂ
NEWM ARKET
What
the ratio of
is
we used
While
mentioned before, we are
year
all
round.
partners William Tyrer and Chris
Ball.
While the
How does
company
a producer sub-
started off cash-flowing pre-sales and
mit a project to you

working
in
more
(i.e.,
of a straight financing capacity,
cover
we've since evolved
into actual film production
letter
and synopsis,
and
etc.)?
distribution.
If
from a producer that
it's
The driving philosophy behind NewMarket cap-
we're unfamiliar with, then
ital is
we
Make
strong films with break-out potential. Don't
like to
see a synopsis of
what the material
is
about.
pick projects for glamour or market reasons: pick

Tell
them because they are the best
us a
about the
little
projects possible.
review process.
Who
are the
staff of
(film
development/production)
NewMarket?
When
it's
comes
script
Myself [Aaron Ryder], Linda Hawkins, and John
story editor, John
Crye.
it's
How many
in,
often read first by our
something
NewMarket
will
Crye.
he
If
responds
then read
it.
If
to,
it's
everyone
something we
at
all
projects do you fund on average

feel
we should
pursue,
we
then meet with those
each year?
changes
It
between
What
six
from
year
to
year
and 10 projects per
the estimated dollar
is
somewhere
amount per pro-
Who makes
these decisions?
Not unlike any other business,
we
too
make our
decisions based on whether or not any given profully
finance films as small as $2-$3 million or

ject
is
a sound investment. Ultimately, the decision
as large as $20 million, depending on the elements

to
involved.
46
THE INDEPENDENT
April
2001
an
We
company.
earlier stage.
sider finishing funds
if
tend to
However,
we
felt
like
to
see
we would con-
strongly about the
move forward and
If
they are rejected
in
the development phase,
can they re-submit the same project
ject?
We
in
project.
involved.
What are the financing decisions based upon?
year.
a very diverse
things
green-light a film
is
made
by
in
a later
phase?
Of course. However, before simply re-submitting,
like
to
made
have a conversation about the changes
or the addition of cast.
How many
projects have you funded since your
inception?
What has been the
some
bition) path of
I
know the
don't
specific number. But to give you a
few examples: we
then
it
was
financed and
fully
ork
be the
will
Become
new domestic
released from our
first film
the|edit|center
Dead Man, which
Universal;
up by Miramax; and more recently,
picked
Memento, which we
tion
financed Cruel Intentions,
fully
picked up by Sony; The Skulls, which
was then picked up by
was
Learn Final Cut Pro from the editors of

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www.theeditcenter.com 212 387 7844

234 East 14th Street Suite #4B New Y
from
Capital
other financing companies or funders?

With us
We can make
a one-stop shop.
it's
we can
talent,
finance the film
pre-sales or distribution
What are two
and
offers to
all
without
place.
in
points of advice you have for pro-
ducers on how best to approach financiers?
want
Long Island
to invest in films; they often
First,
financiers
need
to invest in films.
But most
will
not take stu-
pid risks. It's the producer's job to not only present
International
the material but to work with the investors as a

partner
making a
in
not only result
in
some money as
investment which
Film Expo
will
make them
it
can be
Seeks Submissions for July 13-19 Film Festival
for
putting forth a strong application
in
Short and Feature Length Films,
or proposal?
If
I
have no idea.
We
more about the
it's
What
common
the most
make when they apply

They forget
want
to
to
Cut
mistake producers
you?
to
its
to learn
date
May
14.
* GALA AWARDS CEREMONY August 22 *

call
516-571-3168
www.Co.Nassau.NY.US/film/form2001.html
founders?
no idea what we're doing ... I'm joking of

a
genres considered.
or visit our websites: www.LonglslandFilm.com and
about NewMarket and/or
We have
off
all
16mm, 35mm and VHS Video.
For application, please email [email protected],
ask themselves, "Who's going
course.
in
script.
to see this film?"
We have
accepted, ability to screen
don't really look at applications
or proposals. For us
is
2001
in.
what advice do you have
specifically,
producers
will
Second, make sure the mate-
well.
the best possible shape
rial is in
More
logical
good film but
vague idea
The Long Island International Film Expo is under the auspices of

the Long Island Film &TV Foundation and
the Nassau County Film Commission
Other financing companies or grantmaking

organizations you admire and why.
I'm not familiar
enough with others
to
make
that
kind of assessment.
Famous
last
words:
There's an old quote
who
said
good
five
quarter.
We feel
it
apologize, I've forgotten
that goes: "This country has plenty of
cent cigars; the problem
What we need
similarly
about
is
is
they
all
cost a
a good five cent nickel."
film: there are plenty of
good
independent films, but too often the budgets are too

high for the risk.
Michelle Coe
is
program director at
AIVF.
ooklyn
com
HATTAN
April
2001
THE INDEPENDENT
47
Scott Castle
by
Awards: Best
script.
of Fest
awarded
screenplay competition
al
we recommend that you contact the
adult drama, children/family,
festival
ture cats. Formats:

deadline for placing listings: 1st of the
Entry fees:
month two months prior to cover date (may
$35
Box
Ferris,
gories, prizes, entry fees, deadlines, formats
bff/home.html
send
[email protected]
to:
afi
1-11, CA. Deadlines: June 4 (early); July 16
cultural diversity of L.A. while providing
Expo
&
State
seeks short films
Fair,
&
those
New
Competition,
new filmmakers
May 22
who share
programs
videos under 5
50 min.
$12.
CW,
Contact:
California
Sacramento, CA 95852;
State
Box
Fair.
263-3146;
(916)
European Film Showcase, Latin Cinema Series, Shorts,
short films
& Mike
Leigh.
of
incl.
Robert Frank, Abbas

of films
&
Finalists
compete
Submissions
welcome. Awards:
or less are
Gecko awards. Up
263-
prizes.
Formats:
CHICAGO INTERNATIONAL CHILDREN'S FILM FESTI-
$25,000
to
in
35mm, 16mm,
videos
&
cash, services
in-kind
3/4", 1/2", Beta SP, super
S-VHS. Preview on VHS. Entry fees: $30
VAL. Oct. 25-Nov.
9,
Chicago,
Deadline:
IL.
May
Contact:
15.
local
Competitive fest
is
one
Cinematexas. Dept.
CMA
Univ. of Texas,
w/ no previous
$35
(early);
Radio-TV-Film,
of
6.118, Austin, TX 78712; (512) 471-
events for children
of the largest
6497;
Cats:
fee.
regardless of format, genre or category for the prestigious
15649,
fax:
8,
Filmmakers not paid
May
Deadline:
6th annual fest brings together
a passion for the ever-mutating short
the
of
Kiarostami
awards. Formats: 1/2". Preview on VHS. Entry fee:
(final).
TV/theatrical exposure.
14-23, TX.
Sept.
(final).
incl.
Directions (American Indies),
Docs. Entries must be L.A. premieres
info@
327-3464;
fax:
Fest
(final).
exposure to film industry. Sections
of
327-3456;
(773)
cinema. Retrospectives & Special Programs have
CA
Awards: Totaling over $14,560 plus spe-
in length.
$35
CINEMATEXAS INTERNATIONAL SHORT FILM AND
CA. Deadline:
3,
35mm,
(early);
www.cuff.org
VIDEO FESTIVAL.
7914; [email protected]; www.bigfun.org
w/ avenue
Official
17-Sept.
DVD. Entry fees: $20
8, video,
nov.
programming w/ special events, capturing
film
Aug.
Fest, the juried fine arts competition of the
cial
combines
60618;
IL
cuff.org;
www.brecknet.com/
1.
music video,
Chicago." Formats:
in
Contact CUFF, 3109 North Western Ave. Chicago,
(final).
150 W. Adams,
June
min.
los angeles international film festival,
Preview on VHS.
(early);
CALIFORNIA WORKS,
Domestic
16mm, super
(970) 453-6200; fax: 453-
[email protected];
for july issue). include festival dates, cate-
info.
Center,
these categories: narrative feature, nar-
in
audience choice & "Made
in
Contact: BFF, Marty
(final).
Riverwalk
CO 80424;
Breckenridge,
35mm.
prizes
rative short, doc, experimental, animation,
comedy & action/adven-
3/4",
$40
(early);
718,
2692;
& contact
will
16mm,
annu-
short. 4th
honor 1st place winners
Cash
to films in 5 cats:
drama, comedy, doc, family/children &
in
fax:
471-4077; www.cinematexas.org; cinema
America &
N.
[email protected]
short,
feature.
doc,
Juried
Com-
Prizes,
Kodak
Awards:
petition
Award
Vision
Digital
Awards
in
Formats:
35mm, 16mm,
$40
each
$30
Contact:
(shorts);
AFI
from
Los
its
Wine Country Film
a glass of wine. The

$50
final,
delights audiences with
$40.
2021
N.
Angeles,
CA
856-7707;
its
Fest
14-20,
more
Festival, held
Napa
winery tours and numerous outdoor screenings at unique
&
shorts
10
the last 14 years the festival has grown from a simple three-day event to the
current four, four-day weekend structure. Last year the festival received 326 entries
action
In
resulting in a
fax:
Official
program
of over
Category to honor films from Bay Area filmmakers reasserts the festival's com-
doc,
to the unique voice of local filmmakers. Last year's festival tributes
went
attendees Kirk Douglas, Richard Harris, and Rita Moreno. See
listing.
competitive event,
Boston's cultural calendar
event
the
in
the world that deal
city,
&
is
the
of
w/ Jewish
programs over 200 films & videos from 43 countries
highlights
nearly
of
Consistently
receives
in
programming by presenting
experimental, animation. Formats: Beta
1001 Watertown
St.,
fax:
been completed after Jan.
filmmakers, children, parents
& educators.
produced works-feature, short,
TV, live action,
Cats: Adult
children-produced works, animation and
(ages 3-13). Awards: Best of Fest Prize ($2,500), Jury
St..
#39,
Providence,
HAMPTONS INTERNATIONAL FILM

NY
Deadlines:
Rl
02903; (401)
offers diverse
SP
1/2",
($2,500)
Whole Foods Market's Green Screen
&
Prize.
Formats:
35mm, 16mm,
Rights of the Child
panel discussions
3/4",
Beta SP (NTSC).
BJFF,
Preview on VHS (PAL or NTSC). Entry fee: $35 (short,
02465; (617)
60 mins.); $75
(feature,
60 mins.
Sept. 13-16, CO.
1517 West
Facets,
c/o
Fullerton
Ave.,
or more); no
Chicago,
programs
May 25
(films).
(films); final,
21st annual fest pre-
60614;
(773)
281-9075;
fax:
for
short, world
w/
May 18
(early,
fea-
new
by
young videomakers. Cats:
($180,000 value
directors
&
industry guests. Fest also offers
cinema, films of conflict
videomakers. Awards
incl.
of in-kind
&
feature,
resolution,
doc,
young
Golden Starfish Fiction Film
goods & services); Golden
IL,
Starfish
Deadlines: early, April 27 (scripts),
FESTIVAL, Oct. 17-
programming w/ premieres by established

breakthrough films
filmmakers,
($1,000), Liv Ullmann Peace Prize
11 (shorts);
Prize
doc,
35mm,
May
ture/doc); June 15 (final, feature/doc). 9th annual fest
Prize-Adult director ($2,500), Jury Prize-Child director

narrative, doc,
MA
BRECKENRIDGE FESTIVAL OF FILM,

June 22
have
35mm,
621-1992; www.caparts.org; [email protected]
21,
244-9894; [email protected]; www.bjff.org
(scripts);
1999. Formats:
Beta. Preview on VHS. Entry fee: $10. Contact: CFVAF,
65 Weybosset
action
for the
entry fee. Contact:
West Newton,
animation
live
fee for child-produced films (age 3-13). Contact: CICFF
May 31
1,
of
less than
244-9899;
encourage dialogue between
10,000
animated & experimental works. Cats: feature,
16mm. Preview on VHS. No
contexts which
in
excellent
media coverage & has frequently been recognized

excellence
awards.
must
the best-attended Jewish
w/ an audience
year.
last
tar-
geted primarily for children ages 3-13. Fest presents
&
attending
ex-
$3,000
a non-
films
has become one
Fest
is
best contemporary
presenting the
& videos from around
15. Fest
cats:
in
cash
in
May
genres
all
narrative,
Work
VAL, Nov. 1-11, MA. Deadline:
in
Live
& animated
in
perimental.
BOSTON JEWISH FILM FESTI-
themes.
min.
less.
to
www.afifest.com
films
seeking
is
accepted
mitment
or
works
100 film from 32 countries. The recently addition of an
Arts
Int'l
Festival
Valley,
length
venues.
1.
presented as
is
gence
that a movie seat and
in Calfiornia's
Rl.
June
part of the Conver-
surroundings and provides fes-
tival-goers
(shorts)
Fest,
(323)
This unique festival draws inspiration
early,
$40
Western Ave,
90027;
over 30
(features,
(features),
MATION FESTIVAL,
Sept.
Deadline:
cat.
Entry fees:
mins.),
FILM/VIDEO/ANI-
wine goes
with romantic comedy?
of
Audience
Award,
video.
What kind
for
Cinematography,
Film
CONVERGENCE
929-0266;
Doc ($10,000 cash); Golden
Starfish Short Film
&
5 grad)
Fest also
awards
($5,000); Student showcase (5 undergrad
[email protected]; www.cicff.org
receive
grants
Aug. 17-23,
$25,000
for
8th install-
Science
& Technology and $25,000
of
$2,500 each.
sents 4-day program of films, receptions, premieres,

tributes, writers'
seminars & film education
CHICAGO UNDERGROUND FILM FESTIVAL,
providing unique
&
varied film fare
shown
films are presented from over
meet
U.S.
130 pgs
48
300
ind.
at
U.S.
Deadlines: April 7 (early);
May 15
(final)
venues
&
ment
of
Chicago's premiere independent film event, fest
was created
to
promote films & videos that innovate
in
entries. Scripts should
form, technique, or content
&
to
present works that chal-
lenge and transcend commercial expectations. Awards:

length. Cats: feature, doc, children, short,
THE INDEPENDENT
April 2001
"Films of Conflict
&
for
Resolution," which
the
in
section
2001
will
int'l
Motion Picture Industry standards & be 90in
for
activities,
IL.
throughout the community. Approx. 50
The Alfred R Sloan Foundation Award
focus on films from the former Yugoslavia. Formats:
35mm, 16mm,
Beta
SP Preview on VHS. Accepting
entries beginning April 30. Entry fees:
$25
(shorts);
$50
$35
(features/docs);
Ste.
Contact: HIFF, 630 9th Ave.,
(early).
503, NY, NY 10036; (212) 765-8440; fax: 765-8524;
[email protected]; www.hamptonsfilmfest.org
HARDACRE FILM FESTIVAL,
Aug. 4,
Fest recognizes excellence
9.
11 Call for Entries
Deadline: June
IA.
independent cinema.
in
Cats: feature, doc, short, animation, experimental, for-
Non-cash
Awards:
student.
eign,
Contact: HFF, 417
E.
886-2080;
886-6466;
fax:
4th
Entry
$25.
fee:
52772; (319)
Tipton, IA
St.,
Formats:
prizes.
16mm, 35mm. Preview on VHS.
[email protected];
www.geo cities.com/hardacrefilmfest/
MARGARET MEAD FILM & VIDEO

May
Deadline:
FESTIVAL, Nov., NY
11. Premiere U.S. fest for indie/doc film
video. Previewing doc films
&
&
FILWl FESTIVAL
videos; no restrictions on
i8th AnDnal Film/Video Festival
subject, length, or year of production. This year's special
themes
incl.
&
Project
Human Genome
issues around the
social
genetic engineering; cinema on Pacific Islands
are selected receive pass to

cial
many
ters,
&
assistance
titles
housing
packaged
museums &
&
&
int'l
cen-
Museum
No
Forms (Due 4/1/01)

c/o P.O. Box 13243
Hauppauge, NY 1788
1-800-762-4769
(631) 853-4800
New
MMFVF
entry fee. Contact:
West
of Natural History, Central Park
York,
NY 10024; (212) 769-5305;
at
fax:
769-5329; [email protected]; www.amnh.org/mead
MILL VALLEY FILM FESTIVAL & VFEST,
May 31
Deadline:
June 30
(early);
Oct. 4-14,
CA.
Invitational,
(final).
noncompetitive fest screens U.S. indie films

ture, doc,
in
cats: fea-
animated, short, interactive, children
&
exper-
imental. Official Premieres Selection highlights featurelength narrative
& doc
Fest
incl.
premieres. Seminars bring
in
&
industry professionals.
of ind. features, docs,
filmmakers
CALL FOR ENTRIES
DEADLINE JUNE
1,
2001
around 100 programs
stellar line-up of
3rd-6th, 2001
tour-
Awards: no awards, some finan-
79th Street,
& community
tour to ind. film
& honorarium. Formats: 35mm, 16mm,
assistance
American
May
fest events; limited finan-
all
avail. After fest presentation,
universities as part of nat'l
ing fest. Cats: doc, short.

cial
&
whose works
Indonesia, youth-produced media. Makers
Now
accepting entries
;
&
shorts
for the fourth
video works, as well as interactive exhibits,
of innovative short film
been completed w/in previous 18 mo.; industrial, promotional, or instructional works not eligible; premieres
new works emphasized. Annual audiences

40,000. Awards: Audience
35mm, 16mm,
Formats:
&
awards
Jury
for
shorts.
Beta SP Multimedia,
Digital.

Contact:
IVIVFF,
Mark
Programming, Film
fax:
$30
Inst, of N. Calif., Mill
Dir. of
CA 94941; (415) 383-
383-8606; [email protected]; www.mvff.org
Oct.,
Canada. Deadline: May 30. Fest
makers, choreographers and dance
and video. Event

tions of
is
Festival of
artists to
submit film
dance & the camera. Seeking "innovative work
document
of
choreography,
that demonstrates the kinetic possibilities of
recorded for the screen." Rough cuts
will
Underground Short Film & Viden
invites film-
dedicated to exploring the intersec-
that goes beyond a simple
Columbia, Canada
NTIMATTER
Creek Plaza, 38
MOVING PICTURE FESTIVAL OF DANCE ON FILM AND

VIDEO,
British
(final).
Fishkin, Exec. Dir./Zoe Elton,
Miller Ave., Ste. 6, Mill Valley,
5256;
(early);
m Victoria,
and video
&
at
est.
Antimatter, a festival
seminars & special events. Entries must have
tributes,
annual
be considered
FORMATS:
DEADLINES/FEES:
16mm
Early
completed
VHS
after Jan
1/99
and vdeo
for preview/selection
May 4/2001
($10)
Fmai June 1/2001 ($15)
Any genre Max 30 mms.
movement
accompanied by a detailed description & schedule
BASIC CRITERIA:
Independent productions,
Victoria premiere
if
for
completion. Awards: Grand Prize for Best Filmmaker for
INFO/FORMS:
www.antimatter.ws
Canadian Films Premiered at Moving Pictures; plus prizes

in
choreography
& doc
cats.
Formats:
16mm, 35mm,
Contact: MPF, 253 College
St.,
Canada M5T 1R5; (416) 961-5424;
fax:
(U.S.).
#102,
Toronto,
961-5624; mov-
[email protected]
250-385-3327
Antimatter, F-1 322 Broa
Beta SP Preview on VHS. Entry fees: $20 (CDN); $25
acknowledge rne assistance
o' rhe
anada
SEPT 14-23 2001
2A9
roUgM** WAT'S ^MiH
VICTORIA BC
fip
^\
CANADA
[email protected]; www.total.net/~movingp
\.pril
'001
THE INDEPENDENT
49
NEW ORLEANS FILM AND VIDEO
V6RMONT
LA. Deadline: June
-INTCRNflTIONfll
FILM F6STIVAL
1;
FESTIVAL, Oct. 11-18,
July 1 (late). 13th
annual test fea-
cussions & gala events. Entries
Cats
of all lengths
must be completed
Entries
welcome.
1999.
Jan.
after
Top
prizes
announced.
be
to
produced
Films
by
Louisiana filmmakers eligible to win the LA Lumiere, LA
New
Lagniappe & Best
Orleans Film. Cats: Any style or
genre, animation, doc, experimental, short, feature, student,
music video.
Formats:
VHS,
35mm, super
8, Beta.
$45
$55
$35
16,
(U.S);
(int'l);
225 Baronne
3/4", 1/2", S-8, S-
Preview on VHS. Entry fee:
New
1712,
Orleans, LA 70112;
529-2430;
fax:
Cinema
Contact: NOFVF,
(late).
St., Ste.
524-5271;
(504)
16mm,
&
&
Filmmakers may enter their films
children's.
& Best
Best Animation
Short;
&
features
CRU FOR
6NTRI6S
wrr and pence thc N VI ROM/Vie NT

HUMAN RIGHTS AND JUSTICE
DflDLIN JULV 15 2001
.
Networking & Special Awards presentations for competcategories.
itive
Main
St.,
Suite 307, Burlington Vt
Award-winning
workshops on production &

shorts accepted
film producers present
&
Features
distribution.
follwing cats: narrative, experimental,
in
animation. Awards:
doc,
best
each
in
Formats:
cat.
DVD, DV, S-VHS, Hi-8. Preview on VHS.
$25
Entry fees:
FL. Deadlines: April
the collected programs.
in
60
(features, over
$20
min.);
(shorts,
under 60 min.) Contact: OFF, Patrick Cox, PCR 1020
Wainwnght
FL 32765; (407) 365-2247;
Orlando,
Dr.,
05401
[email protected]; www.orlandofilmfest.org
Contact: RUFF, Box 162, Newport, Rl 02840; 96 2nd
Newport,
02840;
Rl
GAY,
DER FILM FESTIVAL, OR.

works
fest seeking
by, for,
St.,
847-7590/861-4445;
(401)
fax:
847-7590; [email protected]; www.film-festival.org
SEATTLE LESBIAN & GAY FILM FESTIVAL,

WA. Deadline: June
&
BISEXUAL,
AND TRftiSGEN-
Deadline: June
was founded
teers
15
(early); July
Oct. 19-25,
Presented
(final).
annual
1.
about, or of interest to lesbians,
Cinema, fest
Bill
TDB Cinema
staffed year-round by volun-
is
Once
fest.
film
submitted,
is
not be withdrawn. Incl. s.a.s.e. for return.
must
sions
sub-
invites
videos of every genre.
1995 &
in
who produce
may
it
submis-
All
entry form. Cats: feature, short, doc,
incl.
experimental. Awards: Best Lesbian Feature, Best Short

Film,
Three Dollar
Formats:
total).
Award
Bill
35mm, 16mm,
on VHS. Entry fees: $10

SLGFF, Three Dollar
WA
Seattle,
Excellence
for
(early);
$15
Cinema, 1122
Bill
($3,000
3/4", 1/2", Beta. Preview
Contact:
(final).
#1313,
E. Pike St.
98122; (206) 323-4274;
fax:
323-4275;
[email protected]; www.seattlequeerfilm.com
SEATTLE UNDERGROUND FILM FESTIVAL.

WA. Deadline: June
[email protected]
PORTLAND LESBIAN,
Beta
neworleansfilm-
showcases approximately 120
Fest
shorts presented
35mm, 16mm,
UUUJUJ.Vtiff.org 802.660.2600
FESTIVAL, July 5-8,
(late).
16mm, 35mm,
Fest Favorites awards. Formats:
missions of films
May
Best Film,
incl.
films will be eligible for
all
SP/SX, DV, S-VHS, 1/2". Preview on VHS. Entry fee: $40.
by Seattle's Three Dollar
16;
Awards
or out of competition.
in
[email protected]; www.neworleansfilmfest.com
ORLANDO FILM
videos produced after 1998.
dramatic, doc, experimental, foreign, shorts,
incl.
animation
either
premieres last year. Fest
U.S.
accepts shorts, features
other
"''>,
& 33
tures premieres, classic film retrospectives, panel dis-
films/videos receive an engraved lucite Lumiere Award;
..*
independent filmmakers & their work which screened 15

world premieres
1.
Fest
is
5-13,
Oct.
"dedicated to bringing you the
very best of avant-garde, experimental
&
offbeat short
&
feature films from around the world." Last year's fest
screened over 130 films to an audience
& languages
of over 2,000. All
acceptable. Cats: experimen-
gays, bisexual, or transgenders. Cats: doc, experimental,
lengths, topics
animation, narrative, shorts. Awards: Audience Awards
tal/avant-garde, narrative, doc, comedy, animation. Entry
in
these cats: Best Short by Female/Best Short by Male, Best
Best Feature Doc,
Feature,
35mm, 16mm,
fee
for
of
#1224,
239-0026;
make checks payable
screener,
Perceptions).
Perceptions, Attn:
Ave.
Formats:
Beta SP Preview on VHS. No entry fee, ($5
return
Sensory
Best Short Doc.
PLGBTFF
Contact:
Programming
Director,
OR 97204;
Portland,
818
to:
tal,
avail,
super
Fran,
Seattle,
May 4
Deadlines:
nat'l/int'l
(early):
is
digitally
&
feature films output to video or
expose
to
the world
new
Sept-Dec,
annual
5th
&
w/ new
&
digi-
Fest's mission
audiences across the country &
inspire
technology.
output to tape
35mm.
in
new filmmakers, made w/
films, by
A dynamic line-up
of film screenings,
in-depth panel discussions, technology presentations
petitive
parties. Cats: doc, experimental, feature, animation,
interactive
Awards:
software.
1st.
acmecinema@
98104;
&
60 miles north
non-competitive
&
int'l
of
in
Napa &
San Francisco. A com-
showcase
of
100+
fea-
animation. Cats: feature, doc,
short, animation.
Awards: Best
Wolper Best Doc
Prize,
First Feature,
Best Short
35mm, 16mm,
Awards. Formats:
July 19-Aug. 12, CA.
15th annual fest held
ture films, shorts, docs
David
95442; (707) 996-2536;
L.
& Audience Choice
DV.
Preview on VHS.
CA
Entry Fee: $35. Contact: WCFF, Box 303, Glen Ellen,
996-6964; wcfilmfest
fax:
aol.com; www.winecountryfilmfest.com
WOODS HOLE
&
web
May
Valleys,
Deadline:
animation,
Seattle.
WINE COUNTRY FILM FESTIVAL,
www.sen
London, Tokyo.
(final).
WA
aol.com; www.seattleundergroundfilm.com
touring fest seeks short films/videos shot
any format but finished

tal
June
Touring
LA,
16mm,
Preview on VHS. Entry fee: $25. Contact:
SUFF Box 4477,
3rd.
Sonoma
Chicago, NYC,
8.
Sensory
soryperceptions.org
RESFEST DIGITAL FILM FESTIVAL
Cats: feature, short, experimen-
site.
Experimental Film, Best Video. Formats: video,
35mm,
Deadline:
San
web
on
video. Awards: Best Short Film, Best Feature Film, Best
SW
(503) 242-0818; fax:
[email protected];
forms
w/
special
May
FILM FESTIVAL,
1.
emphasis on
28-Aug.
regional filmmakers
Audience
raphy."
July
4.
MA.
Fest "is a showcase for independent film
Formats:
1/2",
& cinematog-
SR 16mm, 35mm, DVD.
Beta
Choice Award w/ cash prizes. Formats: DigiBeta (prePreview on VHS. Entry fees: $25 (shorts); $40 (features).
Beta SP 35
ferred),
mm,
Mini
DV,
DV CAM, 35mm.
Contact:
WHFF
Preview on: VHS (NTSC/PAL/SECAM), Beta SP (NTSC),

Brookline,
DV (NTSC). Tapes returned w/
Mini
$15
(early);
llthfl.,
$20
(final).
s.a.s.e. Entry fees:
Contact: RDFF, 601 W. 26th
New York, NY 10001:
YOUNG PEOPLE'S FILM & VIDEO

of
50
THE INDEPENDENT
April 2001
R'l.
Deadline: June
1.
Fest
is
FESTIVAL, Aug.
showcase
fax:
975-0285;
[email protected]; www.woodsholefilmfestival.com
Deadline:
7134 [email protected]; www.resfest.com
8-13,
Judy Laster, 50 Longwood Ave., Ste. 1020,
02446; (617) 232-4722;
St.
(212) 217-1154, fax: 937-
MA
for int'l
May
11.
Founded
in
outstanding work by grade
the Northwest (OR,
WA.
ID,
FESTIVAL. June. OR.
1975, annual juried survey
&
high school students from
MT. UT, AK).
jury reviews
The Independent Feature Project

presents the 23rd Annual
IFP
MARKET
September 30 -October
New York
5,
2001
City
IF
N
OSSIBILITIES.
INITE
START THE JOURNEY NOW.
^
2001 CALL
FOR ENTRIES:
May
Early deadline:
Final deadline:
18
June 8
Filmmakers & screenwriters:

submit features, works-in-progress,
scripts, shorts, and documentaries
to the original Market devoted to
American independent filmmaking.
FOR AN APPLICATION:
visit
www.ifp.org
or contact the IFP at
104 West 29th
New
>
\
York,
Street, 12th Floor
NY 10001-5310
P:
212.465.8200
F:
212.465.8525
E:
[email protected]
(^S^^ZS)
entries
& assembles
Entries
must have been made w/in previous
Any
a program for public presentation.
Awards: Judges Certificates
style or genre, student.
awarded. Formats: 16mm, S-8, 3/4",
ROM, S-VHS, super

entry
computer
8,
NW
1/2",
CD-
Hi-8,
Preview on VHS. No
Fest
Konsterlie,
SW
Film Film Center, 1219
OR 97205;
Portland,
disk.
Kristen
YPFVF,
Contact:
fee.
Coordinator,
2 yrs. Cats:
Park Ave.,
(503) 221-1156; fax: 294-0874;
[email protected]; www.nwfilm.org
high artistic
&
technical value linked to the problems of
one non-competitive
1/2".
Umberto
I,
84095,
coastal
in
known
Halifax,
Perspectives,
&
16mm,
Halifax,
Canada B3J 3S9; (902) 422-
422-4006;
[email protected];
Box 36139,
AFF,
FESTIVAL
35mm,
Formats:
3456;
fax:
www.atlanticfilm.com
UK.
Sept.,
week filmmakers
During the course of a
1.
Best
Film,
Int'l
62222;
is
com-
Best
Production,
16mm, Super 16mm, 35mm,
Beta
be
will
SP
PAL.
B202 Centre House, 56 Wood Lane,
W12
7SB, England; Oil 44 181 743-8000
44
fax:
740-8540;
181
x.
info@britishshortfilm
hottest films from
around the world.
Digital
will
May
15.
Over 75
crit-
be screened. Fest has three main sections:
Cinema World Cinema, and
Philippine Cinema, Asian
Cinema. Awards: There
for full-length, short,
Contact:
CIFF,
will
be a competition level
and documentary
16mm, 35mm, Betacam.

fee.
DV.
films. Formats:
Preview on VHS. No entry
76-B Scout Gandi
Lagmg Handa, Quezon
St.,
Barangay
City, Philippines; tel/fax:
Oil 63
2 371 8821; [email protected]. ph
FANTASY
Deadline:
Oct. 2-7, Netherlands. Deadline:
new
platform for innovative,
int'l
& new
video, music, installations
May
film,
media. This year there
Panorama
are six thematic programs and an expanded
FILMFEST,
May
25-Aug.
21. 15th annual fest
is
22,
held
Munich,
Cologne.
(Frankfurt,
cities
July
fantasy
&
action adventure. Films
Germany.
in six
Berlin,
the
of
new
in
German
Stuttgart,
the follow-
35mm.
Veranstaltungs
Berlin,
Contact:
FF,
July 2-13,
of
new
adolescents, facilitates access to best

material created today
Uruguay
& must
& encourages
Entries cannot
films for children.
incl.
complete tech
of work, dialogue script in English
animation, doc;
fiction,
Latin
& most
distribution of
OCIC
human
of film. Cats:
kit.
fax:
49 30 861
prize to director of best
film or video; Guri prize for
35mm, 16mm,
Contact:
prize
best film/video enhancing
to
and Children's Jury award.
values,
Lorenzo Carnelli 1311, 11200 Montevideo, Uruguay; fax:
LEEDS INTERNATIONAL FILM FESTIVAL,

welcomes
multimedia entries of any length
incl.
Italy.
Deadline:
short films of
Sep. 27-0ct.
film,
video
&
docs, animation,
experimental and films for children. Entries must have
been completed after July 2000
&
not submitted to Leeds
before. Cats: feature, short, doc, animation, educational.
&
le
Prince
Animations)
Int'l
&
Short Film Competition
Leeds
New
Directors
Competition (features by first-time directors). Formats:
35mm, 16mm,
Beta
SP
(Prints
w/separate sound &
DigiBeta tapes cannot be screened). Preview on VHS.
No
entry fee (incl. s.a.s.e. for return). Contact: LIFE Fest

Office,
Town
Hall,
The Headrow, Leeds LSI 3AD, UK; Oil
44 113 247 8397;
tival@ leeds.gov.uk; www.leedsfilm.com
&
fee.
Oil 598 409 4572; [email protected]
tasyfilmfest.com
14-21,
Formats:
VHS. No entry
IFFCYP Ricardo Casas, Cinemateca Uruguaya,
(Shorts
Germany; Oil 49 30 861 45 32;
July
in
best of fest; UNICEF prize to best film/video promoting chil-
dren s rights;
Awards: Louis
Rosebud Entertainment
31st annual fest shows "film
new
synopsis
info, five-line
44 113 247 8389/8398;
5.
&
diverse
have been shown
& VHS copy
UNESCO
American or Caribbean
anima-
Medien GMBH, Fregestr 36, 12161
GIFFONI FILM FESTIVAL,
5.
films for children
45 39; [email protected], www.fan
June
fax:
May
Uruguay. Deadline:
Annual fest presents overview
at least
Preview on VHS/DVD. No entry fee; $25
(for return of tape).
Box 735, 3500 AS,
IF,
Oil 310 30 294 4493;
INTERNATIONAL FILM FESTIVAL FOR CHILDREN &
YOUNG PEOPLE,
killer,
&
German premiere. Submit preview tape & press
Formats:
310 30 294 4163; [email protected]
must be
ing cats: science fiction, horror, thriller

tion,
Contact:
fee.
Utrecht, The Netherlands
11, UK. Deadline: June 16. Fest
Hamburg) and accepts features & shorts
2001
an
children, animation, doc, feature, short. Awards: Prizes for
acclaimed films from the Phillipines & around the
ically
world
April
is
best
Best American Short Film,
British
28-July 11, Philippines. Deadline:
THE INDEPENDENT
IMPAKT FESTIVAL,
15. Fest
UK GY1 3AN Oil
Peter Port,
St.
481 235 989; landjoz guernsey.net
Panorama
CINEMANILA INTERNATIONAL FILM FESTIVAL, June
52
Box 23,
fax:
program present a broad overview
fest.com; www.britishshortfilm fest.com
development, networking and

market events, including the
VHS. Entry fee: 7 ($10). Contact: GLIAFVF, Guernsey
current social or artistic development. The
genres are accepted (40 min. or under). Fest
London,
Expanded roster of professional
prizes.
are given
the heart of London. Fest also enables filmmakers to
Fest Coordinator,
& non-cash
S-VHS, 1/2". Preview on
Deadline:
Preview on VHS. No entry fee. Contact: BSFF, Lisa Murray,
QQ
8mm, 16mm,
8,
VHS. No entry
in
given. Formats:
TORONTO
Formats: super
focus on a
Cinematography, Audience Award) and awards
MAY
be 30 min. or less. Awards: Cash
ma
petitive (this year's cats incl.
APRIL
professional assistance other
audiovisual productions from the past year. Preview on
Best
of the
31.
w/ no
the opportunity to screen their films at a prestigious cine-
of all
oO
May
for love,
will
network w/ like-minded people & industry pros. Short films
Over
"made
videos
program. Each of the thematic programs
BRITISH SHORT FILM FESTIVAL,

June
&
than processing, copying, or sound transfer." Works must
481 238 147;
Cash awards.
AMATEUR FILM AND
Sept. 21-23, U.K. Deadline:
& w/out
financial reward
Tourist Board,
Beta SP Preview on VHS. Entry fee: $25. Contact:
Oil
390 89 866 111; giffonif@gif
fax:
LILY INTERNATIONAL
Programs. Cats: Any style or genre,
Awards:
Children.
CANADIAN INTERNATIONAL
[FILM]
Special
International
35mm,
www.giffoniff.it
foniff.it;
Frame (anima-
Perspectives, The Late Shift, Frame by

tion)
film
of
festive atmosphere. Sections incl.
Canadian
Focus,
Atlantic
fest, located
nine-day celebration
is
warm &
for its
Canada.
14-22,
Sept.
20th annual competitive
1.
site.
Giffoni Valle Piana, Salerno, Italy;
390 89 868 544;
Fest seeks amateur film
Deadline: June
web
on
avail,
Preview on VHS. No entry fee. Contact: GFR Piazza
VIDEO FESTIVAL,
ATLANTIC FILM FESTIVAL,
form
cat. Entry
Awards: Gold, Silver & Bronze Gryphon. Formats:
GUERNSEY
Foreign
w/
the pre-adolescent world." Four competitions are held
fax:
filmfes-
MANCHESTER INTERNATIONAL SHORT FILM AND

VIDEO FESTIVAL, Oct 20-28, England.
Deadline: June
1.
&
6th annual test seeks submissions from nat'l
filmmakers
super
incl.
in
&
film
8,
&
New Wave &
British
new
low/no budget,
TV, lesbian
int'l
New England's
Finest
Showcase
of
Independent Film
& Video
forthcoming event. Cats
to contribute to the
women
media,
digital
& animation,
gay, experimental
Northampton Film Festival
Panorama. Kinofilm Special
Int'l
Oct. 31
Cat. this year will be "Desire." Enter your 5 min. films on
Nov
4,
2001
"Desire" for the oppportunity to win a 1,000 ($1,455)
M4 1HN
Manchester
St.
Oil 44 161 288 2494;
Tel:
Northampton,
Preview on VHS. No entry fee. Contact: MISFVF,
bursary.
Judd Cullen, 42 Edge
44 161 281 1374;
fax:
MA
England
festival should be"
[email protected]; www.kinofilm.org.uk
fflflfeV
MENIGOUTE INTERNATIONAL FESTIVAL OF ORNITHOLOGICAL FILMS,

15.
6-day
29-Nov.
Oct.
founded
test,
3, France. Deadline:
shows about 40
in '85,
cerning ornithological subjects, as well as
mammals,
&
swimming
reptiles or
photographs,
films con-
wildlife (wild
creatures). Associations
w/ environmental issues
orgs concerned
sent activities
all
Accepting films and videos
from
all
of
Call for Entries
North America
invited to pre-
Deadline June 30
various forums. 15-20 artists present
in
&
paintings
sculpture.
must be
Entries
Cats: Wildlife/environmental. Awards:
French premieres.
16mm,
10,000FF-30,000FF ($l,400-$4,200). Formats:

Beta SP (no
May
NTSC
digital or
video). Preview on VHS.
For information and an entry form:
No
entry fee. Contact: MIFOF, Marie Christine Brouard, B.P 5,
79340 Menigoute, France; Oil 33 5 49 69 90 09;

5
fax:
SAO PAULO INTERNATIONAL SHORT FILM FESTIVAL,

Aug. 23-Sept.
1,
Deadline:
Brazil.
&
1990, having a cultural
May
aims are
development
int'l
Panorama,
max
All
entry
Its
SPSFF,
Zita
Associacao Cultural
Sao Paulo-SP
Alvarez, 784/2,
852 9601;
55
fax:
on VHS. No
Carvalhosa,
St.,
No.
213
Northampton, NIA 01060
[email protected]
THE 8TH ANNUAL
CHICAGO
HCBOIMD
Festival
Rua Simao
Kinoforum,
Brazil
351 Pleasant
fax:413-584-4432
Showcase
Int'l
running time of 35
16mm, 35mm. Preview
Contact:
fee.
Director,
Film Festival
contribute
genres accepted. Films must have been produced
'99/2000. Formats:
Northampton
413-588-3471
is
of production. Fest features:
American &
Latin
tel:
www.nohofilm.org
Brazil, Latin
in
may
films that
sections. Entries should have a
min.
Latin America.
in
of the short film concerning its lan-
guage specific shape & way

Brazilian
in
produced
to exhibit short films
American films as well as

to the
31. Founded
noncompetitive section, test
the leading event for the short format
in
visit
33
49 69 97 25; www.menigoute-festival.org
05417; Oil 55 11
852 9601; [email protected];
11
www.estacao.ignet.com.br/kinoforum/saoshortfest
SOUTH ASIAN DOCUMENTARY FILM FESTIVAL,

Deadline:
Nepal.
June.
&
offers both competitive
located
Fest,
on South Asian subjects
non-competitive cats for docs
made
after Aug.
1,
1999.
length docs given preference. Selected films
South Asia. Awards: Cash awards.
35mm,
may
Full-
tour
16mm,
Formats:
U-matic, Beta SR Preview on VHS. Contact: Film
GPO Box 7251, Kathmandu,
South Asia CE99,
977
Sept.,
Kathmandu,
in
543 333;
fax:
977
Nepal; Oil
www.himalmag.com/fsa
VALLADOLID INTERNATIONAL FILM FESTIVAL,
Oct. 26-
Nov. 3, Spain. Deadline: June 30. Fest seeks "films of

artistic
quality
which contribute
to
&14/ s^Vi/ \^#N*
the knowledge of
worldwide cinematography." Work must have been pro-
duced
in
Formats:
(Time
'00-'01
&
35mm
(official
of History,
Awards: Cash
not previously screened

selection);
in
Spain.
35mm & 16mm
prizes..
Formats:
16mm, 35mm. Preview
on VHS. No entry fee. Contact: Teatro Calderon, Calle
Leopoldo Cano, s/n, 47003 Valladolid, Spain; Oil 34 983
305 700;
fax:
NRES AND FORMATS
ELIGIBLE
doc competition). Cats: feature, short.
Oil 34 983 309 835; festvalladolid@
DEADLINE: APRIL 7TH, 2001
Iph.773.327.345B
?Jfcu
FINAL DEADLINE: MAY 15TH, 2001 Iimfowiff.ih
seminci.com; www.seminci.com
\ r nl
\V1
THE INDEPENDENT
53
(7jrjflstî)
members are
free
charge
of
space
as
listed
the
permits.

SCREENPLAY COMPETITION:
ativity,
length and makes no guarantees about repeti-
have been sold or optioned
tions of a given notice. limit submissions to 60
Grand
&
innovation
$2,000
prize:
Created
must not
how long
of
two months prior to
Sharp, RIFF, Box 162, Newport, Rl 02840; (401) 861-4445;
indicate
cover date
may
(e.g.,
for july issue). complete
work.
fax:
May
Deadline:
together indie filmmakers
Contact:
1.
847-7590; [email protected]; www.
combine
Austen
Eleyne
notices,
we try
st.,
6th fl,
film-festival.org
marked by
April
Scriptapalooza,

Blvd.
Two
& drama (based on
cats: sitcom
pre-existing show). Awards: $1,500 for each category
winner. Airfare compensation up to $500, hotel
pass
VIP
$500,
to
of
is
Designed
& "new media"
to
interac-
scheduled for Feb. 2002.
& accommoda-
www.weblab.org/crossover;
info:
7775 Sunset
British
Hollywood,
II
VIDEO WORKSHOP:
Call for entries.
30 emerging
to
artists
from throughout B.C.
work w/ professional mentors
to
BC
Motion program at the
in
Columbia, send us a sample of your work. Jury
chooses up
**
&
you're an emerging indie film/videomakers living
SCRIPTAPALOOZA
TV
in
the four-day Reel
May
Festival of the Arts,
The Stars at Night

are Big and Bright
COM-
SEMI-ANNUAL
compen-
Heart
to
5-day workshop
storytelling
www.scriptapalooza.com
PETITION:
up
sation
If
[email protected];
austin film festival prime time competition:
first
REELMOTION
CA 90046; (323) 654-5809;
Competitions
media"
pros to re-imag-
Internet.
www.weblab.org/crossover
Deadlines: post-
16 ($50). Contact:
PMB #200.
& new media
"old
More
Opportunity
an intensive retreat bringing
media on the
digital
covered.
tions
ny 10013.
ny,
to be as current as possible, but double-
Call for entries.
prize $25,00i
is
Preliminary appls. due late May. Travel

COMPETITION: Grand
304 hudson
fivf,
independent
to:
the
tivity,
& re-shape
ine
cash & prizes plus staged reading
in
Filmmakers"
for Innovative
prior to entry. Entry fee: $30.
words &
NEW MEDIA WORKSHOP: "Crossover New
FESTIVAL
recognize cre-
to
Scriptapa-
Film
looza TV has been cre-
& AFF
11-18)
Screenwriters Conference (Oct.
bronze
The Heart of Film Screenplay Competition
new door
ated to open a
typewriter award for each category winner. Entry fee:

for the
&
aspiring writer
provides peer recognition, education opportu-
$25. Deadline: April 15. Contact: (512) 478-4795.
expand competition arena
FILM
IN
ARIZONA SCREENWRITING COMPETITION:
promote screenplays set

community.
in
To
Arizona to Hollywood creative
Nat'l competition for original feature-length
85%
screenplays (90 mm., 130 max. pgs).
must be authentic
play's locations
screen-
of
AZ. Industry standard
format req'd. Screenplays that are currently optioned or
have been previously sold
&
pro script notes
or
produced are not
Comm. Award,
Awards: $1,000 Cox
eligible.
industry meetings,
other donated prizes. Entry fees
deadlines: $30 (April 15),
$40 (May
&
Wendy
15). Contact:
nities
to
wider spectrum
incl.
The 2000 Emeritus
&
accepted.
Deadline:
Entry fee:
May
Sunset
LA,
3800
Arizona"
In
Screenwriting
Winners are subsequently chosen from the remaining
hotline:
in
submissions by a group of industry writers and producion
final selection
SLAMDANCE
SCREENPLAY
COMPETITION
2001:
video production
short. Deadline:
12 recognized. Prizes
incl.
cash, software, plus submis-
sion to a major literary agency
TION supports
fees:
quality scripts from around the world.
Character driven, feature length, standard format scripts
fessional actors
Contact:
#382
&
scene shot w/ pro-
crew. Entry fee: $45. Deadline: Aug.
GLAdams
Hollywood,
1626
Enterprises,
N.
1.
$40-$50.
Deadline:
Hansen; (323) 466-1786;
WOODSTOCK SOUND &
superior writing. Winning entries con-
sidered for possible production or development. Entry

1st,
Screenwriting
$2500; 2nd, $500; 3rd, $250.
Seamus O'Fionnghusa,
145
Competition,
Matawan, NJ 07747; (732) 583-2138,
Broad
920-4118;
of
&
veteran
composers
cutting edge
Combined works
incl.
Richard
score the films/videos
will
be screened during
will
Nov.,
submission
to
LA
will
be performed
live.
Deadline:
May
by June
1).
May
Films
Call for
literary
agent &
$60 (postmarked
Contact: OIFF, 2273 West 7th
OH 44113; (216) 781-1755;
St.,
Ohiolndie
Tapes Wanted
Cleveland,
FilmFest@
juno.com; www.ohiofilms.com
1.
Cash
Festival
prizes
&
ENTRIES:
gifts.
Screenings
Contact: WFF, Box 1406, Woodstock,
be
in
for
Time Warner (public access
Entry fee: $50.
NY 12498; (845)
(509) 479-5414; info@woodstockfilm
fax:
TV)
Manhattan & Brooklyn
in
Artists
entitled:
SNACK-ON-ARTS.
submit your work. 15 min. max. Contact: Box
050050, Brooklyn, NY 11205; [email protected]
LOUISIANA VIDEO SHORTS FESTIVAL: Aug.
Conferences
Workshops
$15 (May
institute of videography's annual convention
& TRADE
EXHIBITION, May 2-3. Event showcases the
latest technology
full
schedule
18, postmark);
&
services
in
DV production. Event
1,
25. Entry fee:
postmark). Fest
Lousiana residents, LA natives
is
open
to
& LA
students at school out of state. Cats: experimental,
all
in
other states
music video, drama, doc, PSA, whatever.
incl.
seminars & workshops on the needs
of
$20 (June
Entries
must be 9 min.
or less, produced
in
any
film,
of
video, or
computer animation format but submitted on
today's video production community: from web-streaming video to panel discussions on

ics.
10V welcomes
all
non-members &
tion pre-registration service

site. Contact.-
April 2001
will
Hollywood. Contact: (800) 874-0999; www.angelus.org
&
key business top-
SR
3/4", S-VHS.
44
(0)
VHS
Hi-8/8mm. There's youth
or
category for entrants between the ages of 13-18. Contact:

offers free
conven-
convention info via
web
NOVAC. 4840 Banks

fax:
St.,
New
Orleans. LA 70119; (504)
486-9229;
[email protected];
20 8502 3817; www.iov.co.uk
[email protected]; www.novacvideo.org
THE INDEPENDENT
Angelus
held on Oct. 27 at the Director's Guild of America
486-9192;
54
(250)
media@bcfestivaloft
STUDENTS CALL FOR
through July
Beta
15);
V8W 2H2 Canada
356-0092;
FILMS/VIDEOS WANTED
1.
festival.com; www.woodstockfilmfestival.com
subscription to SCR(i)PT magazine. Entry fee: $40 per
screenplay (postmarked by
100-850
Festival of the Arts,
hearts. bc.ca; www.bcfestivalofthearts.bc.ca
animation,
in
fax:
req.,
the Woodstock Film Festival, Sept. 20-23. Select scores
St.,
Prizes incl. $1,000, screenplay reading at the Ohio Ind.
Film Festival
BC
Victoria, B.C.
FILM
Dir.,
genres accepted.
All
St.,
Awards Student Film
566-7336;
fax-.

Screenplay Awards.
Blanshard
scored premieres of winning short films/videos. Juried
679-4265;
[email protected]; www.nationalscreenwriting.com
for
contact: Reel Motion,
one
at least
March 23. For entry & submission
competition seeks unscored films/videos under 5 min. A
of 10 finalists.
entries
Larry
VISION COMPETITION, featuring
evaluated based upon concept, structure, character, cin-
Nat'l
Contact:
23.
CA 90028; www.finalcutcontest.com
Deadline: June 30. Contact:
prior exp. in film or
Wilcox Ave.,
Horowitz [The Sheltering Sky)
$45. Awards:
studio. Entry
466-1784; lhansen@
fax:
team
fee:
who have
& who have completed
slamdance.com; www.slamdance.com
screenwriters for outstanding writing. Submitted scripts
&
& major
July
NATIONAL SCREENWRITING COMPETITION rewards
ematic quality
annulisting.
emerging indie film/videomak-
3. Eligibility: B.C.
ers 17 yrs. of age or older,
HOLLYWOOD "FINAL-CUT" SCREENPLAY COMPETI-
festival's 8th
looza.com; www.scriptapalooza.com
www.azcommerce.com/mopic.htm
&
made at the
info@scriptapa
5809;
accepted. 1st place prize: $1,000
being
OGtober event The 2000 competition received over 3400 scripts. See
al
(323) 654-
companies, with the
AZ 85012; (602)
N. Central Ave., Bldg. D, Phoenix,
280-1380;
Competition,
and Comedy. Local judges evaluate
the first two rounds of competition.
David Chase.
29-June
"Film
Carroll,
year,
two eat-
submissions
PMB #200,
Blvd.,
Each
in
Mazursky and
7775
TV,
CA 90046;
eries: Adult/Family
were Paul
$35.
15. Contact:
Scriptapalooza
of excellence.
Award winners
episodics
hr.
exposure to screenplay artists whose
competition accepts feature length scripts
writing opportunities. Pilots,
sitcoms
&
work shows promise
of
&

ot
is
media submissions
digital
15 min. or less on an ongoing basis for the monthly
Roy W. Dean Film Grant

for 2001 ,"
, webh at
on the
is
screening program Independent Exposure. Artists quali-
www.fromtheheartproductions.com
fy for
a non-exclusive distrib deal,
fees for
&
int'l offline
incl.
humorous, dramatic, animation,
rative, alternative,
Works selected may continue on
w/ name,
any support materials
Seattle,
WA
phone
photos. Submissions
incl.
not
98121; (206) 568-6051; info@

&
for
synopsis,
&
seeks
of color,
2nd season.
formats welcome. Special interest

Film (submitted on VHS)
It is
genres
All
animation for
in
&
April.
submissions must
script
now
incl.
Contact;
quarterly.
7pm to
Club on April 27, 2001 at

finalist
of the
and see
who
it is
staged
scripts
advanced
You are cordially invited to the National Arts
& $10 (check/m.o.). Films screened
bio
&
monthly

classes are offered
monthly.
$60,000.00 and growing.
Brooklyn's original
filmmakers
indie
submissions
script
Ave.,
microcinema.com; www.microcinema.com
film
training
and
will
2318 2nd
Inc.,
etc.
venues
int'l
S-VHS (NTSC
or
length,
title,
be returned. Contact: Microcinema,
#313-A,
&
to nat'l
Submit VHS
for additional screenings.
preferred) labeled
additional license
online sales. Looking for short nar-
NYC grant
wins.

hear the
"pitch" their projects
Come

and Kentucky.
celebrate with us,
an evening dedicted to
Sheryl
documentary /independent filmmaking.

Ellison,
IGH
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THE SHORT
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for
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Produced
all
genres, 30 sec. to 19
ROM THEy!ART
h
Independent Filmmakers Program
& Cox Channel
web
site.
i)
www.wexarts.org
4.
Awards 5 Kodak product grants annually. Submit on VHS

Appl. form avail, on
wexner center for the arts

short films, airs
w/ Kodak Worldwide
association
in
int'l
more information
Maria Troy, 674 292-7617
RSVP 212 689 5150, Carole Dean
excite.com; www.ighmultimedia.com
min.
Call for
139,
Ste.
St.,
NY 11217; (718) 670-3616; ighmultimedia@
Brooklyn,
From the Heart Productions 866 689 5150
Contact: fax: (619) 462-
8266; [email protected]; www.theshortlist.ee
SOUTHWEST ALTERNATE MEDIA PROJECT
seeks short
films of up to 28 min. to air on The Territory (longest-run-
ning
tions
PBS showcase
of short films, airing
Artists
TX).
in
of
Deadline: April 15. Send
SWAMP
Mary Lampe,
on 13
PBS
sta-
chosen works paid $35/min.
VHS (NTSC)
1519
to:
The
KauNO you?
Territory,
Main, Houston, TX 77006;

!
(713) 522-8592; fax: 522-0953;
[email protected]
media organizations
&
missions of short
&
experimental
race, class
&
of political
VHS
&
in U.S., is
feature
seeking film & video sublength

bio to:
Third
fax:
&
World Newsreel, Attn: Sherae
Rimpsey, 545 Eighth Ave.,
947-9277;
the
to
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iffcon 2001-international film financing con-
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2001
THE INDEPENDENT
55
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Funds
identity to diverse public audiences. Applicants

U.S.
8xlOGLOSSY.COM: Online
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ry
artists'
actors, technicians
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tial.
Send
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s.a.s.e. to: Jim Lawter,
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citizens or
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profit orgs in
can be
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fl
ARTISTS (ACTRA) announces new, innovative program

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in
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disciplines of fine arts or craft
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tion
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stimulate
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Miller
site.
institutes for college
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break traditional
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teach-
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are
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Contact:
(202) 606-8463; [email protected]; www.neh.gov
NEWENGLANDFILM.COM
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able industry directory, listings of local events, screenings, jobs, calls for entries
addition
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listings
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in
filmmaker interviews & industry news.

visitors
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All articles
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on sites free to read; www.nefilm.com
video-
NEWPROJECT.NET
provides a
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seek collaborations w/ their

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Deadline; April 30. Download

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local
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database
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TIONS (LlnCS) FUND,
or matching
to
NY 13811; (607) 687-4341; etc@experi
Valley,
Somi
[email protected]; www.flahertyseminar.org
tions
Up
Hocking, Experimental TV Center, 109 Lower Fairfield Rd.,
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LOCAL INDEPENDENTS COLLABORATING WITH STAVisual artists
Deadlines; April
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L.
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state. Deadline: ongoing.
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project.
incl,).
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GRANTS-IN-AID
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NEXT WAVE FILMS, funded by the
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Juarez, 06600, Mexico D.F
1.6,
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*/
2001
CONTACT US
\*
fl.,
VIA:
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phone: 415-248-2736
(525) 592-5386; fax: 566-
[email protected];
1,
email :f [email protected]
Digital
8071;
June
602 inSoHo
harvestw@ dti.net/www.harvestworks.org
Media Arts Center
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April
AVI
THE INDEPENDENT
57
(Ê^^>
MONTHS PRIOR TO
COVER DATE
MAY
(E.G.
FOR JULY
ISSUE). CONTACT:
PER ISSUE COST:
0-240 CHARACTERS
(incl.
241-360 CHARACTERS: $65/$45 AIVF

x.
MEMBERS
buy
to
MEMBERS
MEMBERS
&
229
new york, ny
fl,
Rent
# of issues; and valid
Sell
any
list
VHS
on
avail,
site:
independent films.
If
you have copies
can
or DVD, then you
of
your
as a seller
join
Buylndies.com handles the
or all of your titles.
Filmmakers keep
rights
all
the film.
to
have been gathered. More
titles
info:
EDUCATIONAL DISTRIBUTOR SEEKS VIDEOS
on guid-
ance issues such as violence, drug prevention, mentoring,
&
children's health
parenting for exclusive distribution.
The Bureau
at
Germain
results! Call Sally
99-YOUTH
&
Digital
camera package

gigs
MC
Powermac 9600, 33
7.1,
FOR
LOOKING
EDUCATIONAL
AN
Consider the Univ.
of California.
We
NYC
in
DP W/ CANON
shoot
all
XL-lj
BETA-SP DECK RENTAL
formats: film/video. Non-linear editing w/
DISTRIBUTOR?
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tributor,
seeks new doc,
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to:
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ME
CHIP
Digital
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Our films win Oscars, Emmys, Duponts.
more. Join us! Fanlight Productions: (800)

to join us.
training
videos
pro-
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on
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stress, health issues.
mental
it
own
Arri
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35BL, 16SR, HMIs,

.
(781)
ANDREW DUNN,
tor
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Dog Run,
Tom
Agnello (201) 741-4367.
932-4677;
[email protected];
is
in
features, docs,
Strays,
TV
feature films, shorts
deserves. Call or email us!
an online streaming and
&
AWARD-WINNING EDITOR, w/
shorts,
demos.
docs,
Avid and Beta
music videos,
Trilingual:
for free online
streaming.
In
COMPOSER:
Miriam Cutler loves
lists,
script library, production facilities,
and more. Contact: [email protected]

site for
Gomez Gomez & more
of Ernesto
Life
SP
BRENDAN
C.
at
&
facility.
educational,
Owns 35
dolly
Call for
Arri
w/
BL3, Super
tracks.
quotes &
many
Awards
reel at
(212)
w/ over 15 years
in
Kill,
Double
(323) 664-1807;
COMPOSER:
music
Original
for
your film or video project.
Demo CD upon
area.
NYC
digital studio.
COMPOSER:
Perfect music for your project. Orchestral to
Bach,
Absolut.
Credits
it!
NFL, PBS, Sundance,
incl.
Music,
of
Chiappetta (718) 752-9194; (917) 721-0058;
qchiap@
el.net
my
avail. Call
Charles for
reel:
man, Sennheiser
Experienced
mentation
editor
in
&
ME
lighting
Can
specialty.
16mm & 35mm
pack-
(212) 295-7878.
digital
camera & camera-
features. Final Cut Pro digital editing with
John
$125/day.
Newell
677-6652;
(212)
[email protected]
cam; prefer documentaries, shorts and

documentation
for dance,
less traditional
music and perfor-
mance. Alan Roth (718) 218-8065; (917) 548-4512;
[email protected]
DIGITAL VIDEOGRAPHER
Sony VX-1000 and
with
Contact Melissa
(212)
352-

industrials,
Aaton 16/S-16 pkg
avail.
short films,
Abe (718) 263-0010.
era pkgs. Credits
many
incl.
features,
incl.
music videos.
Arri
16
& 35BL2 cam-
indie features
&
shorts.
&
FLYNT: Director of Photography w/
short film credits.
I POV:
[email protected]
commercials,
35IIC,
work
quickly.
Willing to
6730; (845) 439-5459;
travel.
[email protected]
Prod
Matthew: (617) 244-
with Arri BL 3, Aaton
XTR
is
ready to shoot your project. Call Jay Silver at (718) 383-
16 package
incl.
&
2nd
1325
for
copy
of
reel,
email:
hihosliver@
earthlink.com
or visit
more information: www.ballantinefilms.com
THE INDEPENDENT
demo
collaborate with
to
seeking entries for our free industry directory,
including talent
58
addition,
along with.
accept-
to get
Josh (917) 439-9369 [email protected]
feature
film enthusiasts is currently
style that will
umentaries and shorts.

creative. I've cut
variety of other formats on both
resource site for film and video professionals, indepen-
web
and video. I'm a hard worker & easy
dent filmmakers, students, animators, actors, screenwrit-
is
&
Working Space /Working Light. (212)
AVID EDITOR I'm experienced, fast &
aging,
aquariusproductions.com; www.aquariusproductions.com
site
crane, lighting, DAT,
dolly, jib
Arn35 BL3, Aaton XTRprod S16, Sony DVCAM.
industrials,
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Complete pkg. w/ DP's
Aquarius Health Care Videos: 888-441-2963; leslie
ing film
TheCinemaG@
more. Ideal 1-source for the low-bud-
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BALLANTINE FILMS.COM
any
in
consultation. Call Joseph Rubenstein; (212)
DIGITAL VIDEO-Sony VX100
35MM/16MM PROD. PKG w/ DP
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and
initial
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film
health,
As a medium-sized distributor we
give your video the attention
ers, producers,
130 Madison Ave., 2nd
Guild.
10016; (212) 685-6242;
ducers
CD;
projects;
&
English,
(718) 728-
www.magonia.com
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66 shotgun mic, with or without operator.
related issues.
&
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The Cinema
New York, NY
fl.,
demo:
&
educational
fiction,
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get producer! Call for reel:
FOR RENT: SONY
Tonelli
project.
techno-you name
all
w/ Academy Award nomina-
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enhance your
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avail,
on features,
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tion.
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travel.
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aol.com; Ask for Distributor Services brochure.
Howard (914) 271-4161.
area. Call
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monitor, 16 Ch Mackie mixer. Avid tech support. Free set-
up
COMPOSER:
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evaluation
documentaries, music videos.
shorts,
210.
x.
AVID AVAILABLE WITH EDITOR;
experience
yrs
NewEnglandFilm.com
of
20
lighting;
filmmakers-features, docs. Sundance: Licensed To

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digital,
www.buyindies.com/sell/; [email protected]
times.

6th
sell
Already over 45,000
&
the shipping.
5+
tap,
some Spanish;
ecommerce, customer service & promotion; you handle
Frequency discount:
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Amex.
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Mark (212) 340-1243.
OVER 600 CHAR: CALL FOR QUOTE

(212) 807-1400
&
MEMBERS
movie
produc-
line
MC,

er will prepare script breakdowns, shooting schedules
April 2001
&
Will travel.
Theo (212) 774-4157; pager: (213) 707-6195.
unit,
FX

looking for interesting projects.
Credits
incl.
exp,
features.
docs
& commercials
&
the U.S., Europe
in
complete Aaton Super 16 pkg &
Israel.
for
nyvardy@
(212) 932-8255 or (917) 504-7244;
reel.
Own
Adam
Call
lights.
TRANSCRIPTION SERVICES:
Low
able.
Specializing
Fast,
reliable
& reason-
&
students.
independents
for
16MM SOUND MIX
Europe
Canada). 22 years
CNN
of
Cinemax & CBC.
International, PBS,
Last doc premiered at Sundance Festival. Specializes
cinema
verite,
ADR,
Opportunities
Gigs
&
issue
social
in
projects.
multicultural
COLUMBIA UNIVERSITY FILM DIVISION
seeking 2
full-
teach Producing and head the producing concentration.
encouraged
to apply. Appl.
Robbie Leppzer, Turning Tide Productions; (800) 557-
line
6414; [email protected]; www.turningtide.com.
and application procedure: www.columbia.edu/cu/arts/
March 31. See web
site for
and
editing),
visit:
view
Client
complete job description
order reel or contact,
clips/stills. To
BRODSKY & TREADWAY
www.kozma.com
DV CONSULTANT: Need
help
& working filmmaker
Final
FCP
in
Dean
endowed &
a privately
is
of the
Media
AfterEffects,
fully
among
the top five
guished
as
career
filmmakers
video
or
Will
work
dirt
Avid edi-
work on interesting and innovative pieces.
cheap
chance
for the
be challenged (docs,
to
591-0589.
shorts, features). Call Kevin (212)
frequent
contributor to
&
video community

Robert
333-7000.
Seigel, Esq., (212)
L.
ment;
16mm & 35mm.
Short films
&
equip-
features. Vincent
line:
Open
LECTURER
Program
in
1.
ARTS: The
(renewable, non-tenured track) Lecturer

Duties
incl.
writing
& educa-
NEA, NEH, ITVS; Soros, Rockefeller, and

Foundations.
or Geri
Thomas
Fast writers,
&
NYSCA,
Acheson
Lila
reasonable
interest,
resume & sample(s)
workto:
Digital Arts
(212) 625-2011; www.artstaffing.com

incl.
all
Providing ser-
&
the crew
etc.
We
equip,
specialize
in
clients.
If
qualified
El
Network experience.
Salvador, Nicaragua,
Civil
278-7869;
fax:
wars
extensive
in
Kosovo,
dent uprising. Equipment maintained
in
Film
yrs
sound
by Sony.
exp.
Nagra & DAT, quality mics. Reduced rates

Harvey
&
Fred
Edwards,
(718)
w/ timecode
for
(518)
ment & low
&
NYC
solid
an EOE/AA employer.
COA
contact
at (212)
of
505-1911.
New
in
production
budgeting/scheduling,
&
fx
looking for low
York. Will
provide
personnel.
Video,
shorts and feature experience. Call Val at (212) 295-
7878
or
[email protected]
Development
for-
SCREENWRITER/DIRECTOR
85th
in
NYC,
fully
wired
all
room
as needed. Short or long-term. Dana (212) 501-7878
with credits seeking pro-
x.
ducer/investors for a dynamic, original script: Let's
U.S.
lion.
suburb &
in
Rome/
Positano, Italy.
For treatment, see:
ments/treatment.asp?tid
Kill
in
Budget $3-5 mil-
http://www.indie7.com/treat-
= 34;
George Romaine: gero-
222.
Low
etc.
based on tape length. A standard

is
prices
&
flat rates
hr. 1-on-l interview
only $70: www.productiontranscnpts.com for details
or call: (888)
349-3022
[email protected]; (718) 875-9120.

Mechanic:
We
Doctor,
The Movie
films-in-progress
677-5720;
include:
insight/analysis.
Miramax & Warner
Bros.
Studio
credentials
Competitive rates.
work over the

incl. film
for presenting
festivals
&
clients
members.
AIVF
for
Contact:
compression@random
room.com; www.randomroom.com/compression
TOP OF THE LINE
Providing services ranging from
budget preparation to postproduction supervision. Help

for your feature, short, video or
produce
to
office equip, Beta, 3/4" dubbing, animation. Avid
Preproduction
soft-
DV
868-0028.
to
all
in
St.,
newest
3/4",
is
State
low-budget
[email protected]
PRODUCTION TEAM:
budget features
S.
quality,
& RAM. Betacam,
projects.
mats, S-VHS, Hi-8.
financial
in
(212) 952-0121 X. 229.
materials/media
Holly Hollmgsworth, a dramatic comedy; locations
Beirut,
private edit suite
Ann
WELL-ESTABLISHED
Full
497-1109;
independent
filmmaking-features, shorts, music videos. Will consider
international
rates. Call (800)
hr access. 12 hrs b'cast quality storage,
ware. Huge storage
also help you with locations, craft services,
w/ 24
of
Search Committee, Program
of
Low
into
Submit a statement
of creative
Video Studies, 2512 Frieze Bldg., 105
48109. U
field pkg.
rates.
(212) 598-0224; www.reddiaper.com;
vices for indie filmmakers,
We
district
New
URL
www.umich.edu/~jobs/currenV
needed.
Interactive
Media. Write for specifics or past the following

your browser window:
Arbor, Ml
SAN DIEGO:
IN
FINAL CUT PRO: Rent a
Digital Arts.
teaching computer based moving image pro-
&
245
www.peteroliver.com
a three-year
in
creation, author-
are nice people and
NY 10001
Betacam & DV
Michigan,
of
Univ.
We
very reasonable pricing. (212) 563-4589;
St., NY,
& Video Studies seeks
Film
management. Spruce
menu
Starting date: Fall 2002.
IN DIGITAL
DVD
Full
love
only. Correct
948-7985.
project
EDIT/SHOOT
position filled. Application reviews will
until
of appls. will begin immediately.
Wanda Bershen,
on
info
postings/T-00-14288-CK.html; [email protected]. Review
(212) 779-1441.
Wallace
more
job description of
duction courses, such as Animation
with crew
&
full
CalArts, please visit: www.calarts.edu Application dead-
begin March
in
appointment. For a
8, or archival
and
W. 29
Experience should be commensurate with a senior level
EDITOR AVAILABLE: Experienced award-winning
we have
artist.
Greg (347) 731-3466.
tor available to
B&W &
ing
the nation. Candidates should have a distin-
in
early
16mm. We
8mm, Super
DVD AUTHORING:
accredited arts college of approximately 1,200 stu-
schools
or mine.
Regular
frame
Cut Pro? Exp. con-
in
Institute of the Arts invites applications for
and your Avid
mixing,
only.
California
School of Film/Video. CalArts
dents. The School of Film/Video ranks
Mac
w/
DEAN OF THE SCHOOL OF FILM/VIDEO: The
New Media
Beta SR DAT, extra
Drina (212) 561-0829.
list,
(.06/ft),
film/jobs/html
DP WITH CAMERA:
&
editorial,
xfers
credits.
off-line rez.
dead-
& sound
Tom (201) 741-4367.
(.015/ft). Call
pic-
fullcoat.
16mm mag
screening,
edgecoding
16mm
35mm
or
time faculty members, one to teach Directing and one to
Univ. is EOE. Minorities
16
to
interlock
16mm
experience as director/producer,
of
broadcast on
&
Reasonable
St.
mixed
tracks
16mm/35mm
with extensive inter-
experience (Latin America, Africa,
national
&
ture
(516) 770-2314: www.pswilco.com
subways & Canal
all
(212)925-1500.
rates.
We know
docs. Pick-up/Delivery/Rush.
in
Downtown, near
have special needs! PS Wilco (718) 369-5105;
indies
worldnet.att.net
rates
commercial. Reduced
rates for low-budget projects. A.L. Films:
(718) 322-
rent
Postproduction
on-line/off-line
with or without editor
in
NT Meridian Avid
Chelsea
loft
for
offices.
Great rates! Contact Jong at Suitcase Productions. (212)
16MM CUTTING ROOMS:
8-plate
& 6-plate
facilities,
fully
647-8300.
24-hr access.
\p,,l
AVI
THE INDEPENDENT
59
www.aivf.org
from the
AIVF
lies
BELIEVES IN
in diversity.
director
THE MAXIM THAT STRENGTH
To
our pleasure in this issue to provide a
It is
snapshot of Buffalo, one of the remarkable
this end, regional
produc-
media
arts
communities we
visited last year.
See pages 22-30, and remember that Buffalo
tion resources are critical to the preservation
also a verb, as in, "to confound."
of a true independent media culture. Instead
Tony!)
AIVF works
of seeking to conglomerate,
network
wide range of disparate
organizations, doing
ing with
why
acronym
to
[email protected].
Abrahams, and Sheppard. This session
them
MAESTRO
and Portland.
why we
Through these "scans"
Elizabeth Peters
directors. In Brief
sponsored
sponsored by
aivf events
is
presented by
Cowan,
by
Women Make
AIVF
DeBaets,
co-
is
Movies.
UPCOMING TOPICS:
AIVF and
an
is
NAMAC
GOOD MACHINE
can stay
touch
in better
means
program provides
programs
a platform for technical assistance
that ideally can help elevate the knowledge
and capacity of regional centers. More importhe tour provides an avenue for our
regional partners
teach us about
and
all
Wliem
theit
communities to
of the ways in which
we
remain independent.
Good Machine,
Subways:
Spring.
1 or
resources
9 to Houston,
in
Dragon, The
of print
and electronic
magazines
from essential directories

to
&
807-1400

Tiger,
April 2001
15: Distribution Deals
seat for these important seminars by
purchasing a series pass: $150 for
all six
pro-
all
will
BEYOND SELF-REFLECTION:
NEGOTIATING YOUR ROLE IN
Hidden
and
THE PERSONAL DOCUMENTARY
of which were co-
be attending with
Anne
V-P of development.
When: Tuesday, April
Wine and
Cost: $5
An
BRIEF
ADVICE FROM THE PROS

LEGAL SERIES
"COPYRIGHT AND THE LAW OF IDEAS"
Sponsored by Cowan, DeBaets,
Abrahams & Sheppard
artist
When: Thursday, April

$20 AIVF
Cost:
19,
6:30-8:30 p.m.
& WMM members; $30 gen-
6:30-8:30
24,
p.m.
goldfish reception follows!
AIVF members
only
draws from personal experience as
the basis of her
art.
What happens when a film-
maker's personal experience IS the art? Diary
and personal essay
films
can provide a popular
vehicle for often profound. and universal stories.
This
maintain
month we
discuss
how
perspective
their
strongest possible
and
maker can
craft
the
work when negotiating the
tricky dual roles of author
and
subject.
eral public
Our
seven-session Legal Series launches with
program on clearance and copyright. This
evening presents the legal issues involved in

selling or
buying a script
as well as
optioning a
true story for a film project, including: copytight
of publicity,
right
of privacy,
defamation, clearing archival footage/photos,

fair
THE INDEPENDENT
Crouching
Ice Storm, Ride with the Devil,
Schamus, who
tight,
BY INTERNET: www.aivf.org; [email protected]
Private Offerings;
Releases
written &. produced by co-president James
BY PHONE: (212)
Lee's
artists.
trade
(a)
Other forms of financing
as a
York
or E to
(b)
September 13: Production Legal Issues
Hold a
was founded in 1991
The Wedding Banquet,
St.
New
Our Filmmakers' Resource Library
houses hundreds
Ang
include
WED. 11-9
fl.,
Inc.
IN
304 Hudson
June 14:
October 18: Guilds and Unions
members; $10/general public
innovative film
emerging,
The AIVF
Forming a Legal Entity
Film Finance
production company dedicated to the work of
reachAIVF
0:
grams ($100/AIVF members).
Carey, senior
7:
November
Tues., April 17, 6:30-8:30
Cost: free/AIVF
MAESTRO
The
concen-
coincidentally, "Maestro" also
"teacher."
GOOD MACHINE
abbre-
with our constituents.
May
June
MEET & GREET
and programs
trated series of gatherings
60
representing independent producers, writers
and
"Media Arts Environmental Tour
for
it?).
City.
DeBaets,
and
aivf.org for
Chicago,
Atlanta,
of Regional Organizations" (see
tantly,
&
film,
Cowan,
ing regional programs, or provide feedback to
we're so excited to be partner-
project
Philadelphia,
Not
Abrahams
Sheppard, and specializes in independent
with
news on our upcom-
Watch
is
NAMAC again, to this year bring our
MAESTRO
viate
and
artists
to help
(Thanks,
moderator and co-producer
series
home communities.
thrive in their
That's
what we can
to
is
The
Innes Gumnitsky, an entertainment attorney
use defense and trademark.
THE LOS ANGELES FILM FESTIVAL

APRIL 20-28
(LAFF) was
The Los Angeles Film
Festival
launched in 1995
means of uniting the
as a
independent filmmaking community and supporting emerging filmmaking talent.
proud to support the

the following panel:
LAFF and
AIVF
is
to co-present

of the Association for Independent Video and Filmmakers (AIVF), supports a
The Foundation
for
t x-ix^nriss
independent media community,
publication of The Independent and a series

of resource publications,


The William and
Flora Hewlett
Foundation
LEF Foundation
NYSCA
We
of the
Luna
AIVF
delivers.
T.
for the Arts
New


BllSineSS/lndUStry
including
seminars

AVIDS TO GO
Members:
CA: Action/Cut Directed By Seminars; Attaboc LLC;

Rawstock; Eastman Kodak Co.; Film Society of Ventura County; Focal Point Systems, Inc.;
Forest Creatures Entertainment Co.; Idea Live; Marshall/Stewart Productions, Inc.; MPRM; ProMax
Systems Inc.; Somford Entertainment; CO: The Crew Connection; DC: Consciousness Squared
Communications; FL Tiger Productions, Inc.; GA: Indie 7; IL Optimus; MA: CS Associates, Glidecam
Industries; Monitor Company; MD: The Learning Channel; Ml: Grace & Wild Studios, Inc.; Zooropa
Design; NJ: Black Maria Film Festival; Diva Communications, Inc.; NY: AKQ Communications, Ltd.;
American Montage; Analog Digital Intl.; Archive Films, Inc.; Asset Pictures; Bluestocking Films,
Inc.; The Bureau for At-Risk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra Films;
Cypress Films; Deconstruction Co.; Dekart Video; Dependable Delivery, Inc.; DV8 Video Inc.; Earth
Video; Human Relations Media; Hypnotic; Inkling Prods.; Kitchen Sync Group, Inc.; KL Lighting;
Mad Mad Judy; Media Services; Mercer Media; Mercer St. Sound; Mixed Greens; New York
Independent Film School; Nuclear Warrier Prods.; NTV Studio Productions; On Track Video, Inc.;
One Kilohertz; The Outpost; Partisan Pictures; Paul Dinatale Post, Inc.; Prime Technologies;
Seahorse Films; Son Vida Pictures, LLC; Sound Mechanix; Stuart Math Films, Inc.; Suitcase
Productions; The Tape Company; Tribune Pictures; Winstar Productions; Wolfen Prods.; OR: Angel
Station Corp.; PA: Smithtown Creek Prods.; TX: Rose Noble Entertainment; UT: KBYU-TV; Rapid
Video, LLC; VA: Bono Film & Video; Dorst MediaWorks; Roland House, Inc.; WA: Amazon.com;
Global Griot Prod.; WV: Harpers Ferry Center Library; France: Kendal Prods.
Dr.
Nonprofit Members:
AL Sidewalk Moving Picture Fest. AR: Hot Springs Documentary

Community Coll.; CA: The Berkeley Documentary Center;
Filmmakers Alliance; Intl. Buddhist Film Fest.; ITVS; LEF Foundation; Los Angeles Film
Commission; Media Fund; NAATA; Ojai Film Soc.; San Francisco Jewish Film Fest.; U of Cal.
Extension, CMIL; USC School of Cinema TV; Victory Outreach Church; Whispered Media; CO:
Denver Center for the Performing Arts; DC: Corporation for Public Broadcasting; Media Access
Project; GA: Image Film & Video Center; HI: Aha Punana Leo; U. of Hawaii Outreach College; ID
Film
Inst.; AZ:
Center for School Improvement;
Community TV Network;
LA:
New
IL:
Little City
Art Institute of Chicago; Chicago
Foundation;
PBS Midwest; Rock
home
or office
long term //short term rentals

way
Underground Film Fest.

Appalshop
Valley Coll.; KY:
Orleans Film Fest.; MA: CCTV; Coolidge Corner Theatre Foundation; Harvard Medical
Bow Group Inc; Lowell Telecommunications Corp.; LTC Communications; MD: Laurel
Cable Network; Native Vision Media; Ml: Ann Arbor Film Fest.; MN: IFP/North; Intermedia Arts;
Walker Arts Center; MO: Webster University Film Series; MS: Magnolia Indie Fest.; NC: Doubletake
School; Long
Documentary Film
Nebraska
Independent Film Project, Inc.; Ross Film Theater,

Center for New American Media; Cinema Arts Center;
CUNY TV Tech Program; Communications Society; Cornell Cinema; Council for Positive Images,
Inc.; Creative Capital Foundation; Crowing Rooster Arts; Downtown Community TV; Educational
Video Center; Film Forum; Film Society of Lincoln Center; Globalvision, Inc.; Guggenheim Museum
SoHo; John Jay High School; Konscious, Inc.; Manhattan Neighborhood Network; National
Foundation for Jewish Culture; National Video Resources; New York Film Academy; NYU TV Center;
New York Women in Film and TV; Open Society Institute/Soros Documentary Fund; Paper Tiger TV;
Spiral Pictures; Squeaky Wheel; Stony Brook Film Fest.; Third World Newsreel; ThirteenA/VNET;
Upstate Films, Ltd.; Women Make Movies; OH: Athens Center for Film & Video; Cleveland
Filmmakers; Greater Cincinnati & Northern Kentucky Film Commission; Media Bridges Cincinnati;
Ohio Independent Film Fest.; Ohio University/Film; Wexner Center; OR: Communication Arts,
MHCC; Northwest Film Center; PA: DUTV/Cable 54; PA Council on the Arts; Prince Music Theater;
Scribe Video Center; Temple University; University of the Arts; Rl: Flickers Arts Collaborative; SC:
South Carolina Arts Commission; TX: Austin Cinemaker Co-Op; Austin Film Soc.; Southwest
Alternate Media Project; Worldfest Houston; UT: Sundance Institute; VT: Kingdom County
Productions; WA: Seattle Central Community College; Wl:
Department of Film; U of Wisconsin
Dept of Communcation Arts; Wisconsin Film Office; Argentina: Lagarto Producciones; Canada: Toronto
Documentary Forum/Hot Docs; Germany: International Shorts Film Festival; India: Foundation for
Fest.;
NE:
UN/Lincoln; NM: Taos Talking Pictures;
NY:
PICTURES
212 255 2564
UWM
Universal Responsibility
IIIL'UiWriM
DV TO 35MM TRANSFER WARS:
cross-cultural feast of premieres,
A COMPARISON OF LABS
STUDIO
and 30
4 J
When:
T*F:(212) 254-1 106
E:
studio4|@ mindspnng com
DGA Theatre.
Institute/Alliance
Los Angeles
members
Not
DV-to-35mm
putable finding of AIVF's

fer tests.
niques,
will
on VIP badges.
355-6100.
Info.: (212)
HOT DOCS
(APRIL 30-MAY
6)
varying transfer tech-
and representatives from featured
be on hand to screen additional
North America's
largest
labs
doc
Hot Docs
festival,
Canadian International Documentary
Festival
clips,
explain their transfer processes, and answer
S-VHS, Hi8
AIVF
discounted tickets to
trans-
your questions, as well as those from writer

3/4",
for
Excerpts will be screened from the
showcase the
tests to
eligible
transfers look alike. That's the indis-
all
Discreet logic's
After Effects
French
the
(FIAF).
screenings as well as the Inaugural Gala, and

In/o.:(323) 937-9155; www.lafilmfest.com
Combustion*
at
Francaise
check Festival website
Cost:
edit*plus
screen
will
Friday, April 27
Where:
films
retrospec-
Over 60 events
seminars, and parties.
tives,
and moderator Robert Goodman. See the
is
Toronto's annual celebration of excellence
in
doc film and TV. Hot Docs presents a
80+
tion
selec-
cutting-edge documentaries from
dif-
Canada and around
ferences and judge for yourself!
the world. Fest
includes
2nd Annual Toronto Documentary Forum, a

two -day event
THE SAN FRANCISCO

INDEPENDENT FILM FESTIVAL
Create* in* the* cotft/c>rt
ofcuprivate* edit
ftJepcr>Jerri
AIVF
and
Film Society
S.F.
proud to co-sponsor
is
the East Village
THE FILM SOCIETY

OF LINCOLN CENTER
to co-present the following panels:
DV TO
35MM TRANSFERS: A COMPARISON OF LABS
AIVF members may

just
Monday, April
30.
Check
festival website for
$5 per
card at box
further info.
is
IN
Cut Fro
Nonlinear Editing
SEARCH OF AN AUDIENCE: EXPLORING THE

WORLD OF SELF-DISTRIBUTION
HiS, 3/4",
S-VHS
show membership
The Walter Reade Theatre
office.
more
165
65th
contact the Film Society
info,
of Lincoln Center box office at (212) 875-
5600 or www.filmlinc.com
Wlten: Sunday, April 29
Where:
St.,
AMC
Kabuki 8 Theatres (1881 Post
San Francisco, CA)
Cost: free to Film Society
Beta SP, DV, DVCAM,
attend specific films for
Please
ticket!
located at Lincoln center,
Street. For
Final
203-2155; www.hotdocs.ca
this year's festival

In
co -financ-
new documentaries.
APRIL 19-MAY 3
Presented hy the
J fat ike 1
Info.: (416)
iaite*.
MeffHanley, Edi&>r
Pfr'ce
for the international
ing and co -production of
and AIVF members;
Ermanno Olmi
Retrospective:
Contemporary
British
Mar. 21 -Apr. 12
Cinema: Apr. 13-26
Argentinian Cinema: Apr. 2 7 -May 10
$5 general public
Info.:
April programs:
www.sfiff.org
TIMES TALKS: THE SPECIALIST

who
Panelists include exhibitors
pendent
films
present inde-
and videos, and filmmakers who
have found audiences by hitting the
PRESENTED BY DOCFEST FILM FESTIVAL

(THE
NEW YORK DOCUMENTARY CENTER,
mm
streets.
When: Sun., April
aivf co-sponsors
Where:
1,
INC.)
TIMES
3-6 p.m.,
DGA Theater
(110 W. 57
$25 gen public; $10
Cost:
PS 2001
The
NEW YORK
St.)
AIVF members
(with card, at door only).
(MONDAY NIGHTS
IN
APRIL)
Info.:
The Phat
Shorts Film Festival
is
(888)
NYT- 18 70; www.docfest.org
a grassroots
Classic documentaries will be screened as part

collective of artists bent
on amping the expoof this
sure of short films, and celebrating the
com-
New
York Times series dedicated to dis-
cussion of the
munity of independent filmmakers.

1123 Broadway, Suite 314
New
York,
New York
WOW
arts,
Each Times Talks screening

www.phatshortsfestival.com
or
Anthology
nied by a lively
tillation of
AVIGNON/NEW YORK FILM FESTIVAL
212-223-4-254-
(APRIL 16-22)
The
only festival of
French
62
THE INDEPENDENT
April 2001
will
be accompa-
QekA and champagne
recep-
Film Archives at (212) 505-5110.

tion. Eyal Sivan's
www.earthvideo.net
entertainment, and society
Info:
&
its
Specialist (1999), a
films in a
dis-
500 hours of courtroom footage
shot in 1961 during the
trial
of Nazi "Final
Solution" chief Adolf Eichmann.
kind to bring together
American independent
The
The AIVF Regional Salons provide opportunity

for
members
to
discuss work, meet other inde-
pendents, share war stories,

the AIVF
community across the
to
country. Visit the

info.
[email protected], www.passionriver.com
Charleston, SC:
Portland,
Last Thursday of the
Where: Charleston County
contact your local Salon Leader to confirm
month
Library,
6:30-8:45
pm
68 Calhoun
St.
Cleveland,
OH: Ohio
(216) 651-7315, [email protected]
Dallas,
TX: Video
Houston, TX:
pm
month
[email protected]
Contact: (713) 522-8592,
Austin,
TX: Austin Film Society

When: Last Monday of the month, 7 pm
Where: Bad Dog Comedy, 110 Riverside Dr.
Contact: Anne del Castillo, (512) 502-8104,
Lincoln,
[email protected]
When: Second Wednesday of the month, 5:30 pm

Where: Telepro, 1844 N Street
Contact: Dorothy Booraem, (402)476-5422,
dot@ inetnebr.com, www.lmcolnne.com/nonprofit/nifp
Last Tuesday of the
NE: Nebraska
[email protected]
Ind. Film Project
Tucson, AZ:
When:
First
Monday
Contact: Karen Scott,
CO:
EZTV
8
DC:
Washington,
DC Salon
first Wednesday of the month, 7 pm

Where: Boulder Public Library, 1000 Arapahoe
Contact: Joe Torres,
hotline
[email protected]
x. 4,
pm
Salons are run by AIVF members, often
Contact: Michael Masucci, (310) 829-3389,
"Films for Change" Screenings
month
[email protected],
(202) 554-3263
When: Third Monday of the month,

Where: EZTV- Santa Monica
[email protected]
of the
Contact: Rosarie Salerno,
Birmingham, AL:
Boulder,
San Diego, CA:
[email protected]
1519 West Main
Los Angeles, CA:
month
Contact: Dominic Giannetti, (877) 378-2029,
When:
SWAMR
of the
South Florida:
SWAMP

Contact: Mark Wynns, (404) 3524225 x. 12,
Where:
Monday
First
Contact: Kate Kressmann-Kehoe,
[email protected]
[email protected]
of the month, 7
[email protected]
Contact: Paul Espinosa, (619) 284-9811,
Association of Dallas
Contact: Bart Weiss, (214) 428-8700,
GA: IMAGE
OR:
Contact: Beth Harrington, (360) 256-6254,
When:
Independent Film Festival
Contact: Annetta Marion or Bernadette Gillota,
Wednesday of the month, 6:30 pm

Where: Borders Books 6k Music, Wolf Rd.
Contact: Mike Camoin (518) 4892083, [email protected]
First
1,
Rochester, NY:
Peter Wentworth, [email protected]
and location of the next meeting!
Albany, NY: Upstate Independents
Atlanta,
[email protected]
When:
date, time,
When:
New Brunswick, NJ:

Contact: Allen Chou, (732) 321-071
MA:
and connect with
salons section at www.aivf.org for more
Be sure
Contact: Fred Simon, (508) 528-7279,
Boston,
in
association
with local partners.
[email protected]
When:
AIVF has resources
Milwaukee, WI: Milwaukee Ind. Film Society

When: First Wednesday of the month, 7pm
Where: Milwaukee Enterprise Center, 2821 N 4th
Contact: Brooke Maroldi, (414) 276-8563,
Contact: Jon Stout, (303) 442-8445,
[email protected]
mitted
to assist enthusiastic
members who
and com-
wish to start a salon
own community! Please
call (212)
in their
807-1400
x.
236 or
e-mail [email protected] for information!
www.mifs.org/salon
POST PRODUCTION
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\pnl
2001
THE INDEPENDENT
63
Can we make
a case for
fluorescents?
._
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Publication of
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thelndependenf
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Why Three-Act Docs?
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MONTHIX
& VIDEO
May
2001
VOLUME
NUMBER 4
24,
www.aivf.org
Editor
FEATURES
Thomson
Chief: Patricia
in
[email protected]!
Managing
Power
Editor: Paul
[email protected]

[email protected]!
Dan
Interns:
Jim Col vr
Stei nhart,
Cara Mertes, Robert
L.
Seigel, Esq.

[email protected]!

(212) 807-1400
225; [email protected]!
x.

[email protected]!
&
&
Video Monthly
to:
St.,
0731-5198)
(ISSN
NY 10013.
fl NY,
published monthly
is
tax-exempt educational foundation dedicated
(FIVF), a
arts
and
artists.
($55/yr individual; $35/yr student;
is
the advancement of media
to
included
in
$100/yr nonprofit/school; $150/yr business/
and Filmmakers
(AIVF), the
national trade association of individuals involved in independent film and video.
Library subscriptions are $75/yr. Contact AIVF,
(212)
807-1400;
Cadmus
the USA by
^M
New
304 Hudson
St.,
York, NY,
NY 10013,
ft, NY,
offices. Printed in
Journal Services.
Publication of
lic
463-8519;
(212)
fax:
The Independent
made
is
possible
and the National Endowment for the
in
part with pub-
31 CPB's Diversity Fund
A new funding pool for public TV projects
Arts, a federal agency.
by minority producers.
Publication
of any advertisement
in

All
to the editor Letters
constitute an
in
an ad. Letters to
may be
edited for length.
in
Press Index and
is
member
Foundation
is
indexed
in
Bob Connelly
Inc.
appearance
by
32 Inside the ITVS Jury

One
producer's experience
panel,
&
Film, Inc.
Room
the Alternative
on an ITVS
to make
and her advice on how
2001
your application one of the
5%
that
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, administra-
receives funding.
tive director,
Michelle Coe, program director;
associate; Greg Gilpatrick
James
opment associate; Ram Soppa, Nonko Yoshinaga.

Robert
I.
information services
The Independent
devel-
interns; AIVF/FIVF legal counsel:
Visit
Israel,
& Joshua Sanchez, web consultants; Anne Hubbell,
by
Frances Negron-
muntaner
I Sheppard.
36 Stranger Than
AIVF/FIVF Board of Directors: Angela Alston,
Doug
Block, Paul Espinosa (treasurer),
Dee Dee Halleck, Vivian Kleiman, Lee Lew-Lee (secretary), Jim McKay (co-chair),
Robb Moss (president), Elizabeth Peters

(vice president), Ellen Spiro, Bart
*RVF Board
(ex officio),
James Schamus*,
Weiss (co-chair), Jack
Willis*,
Valerie Soe
Debra Zimmerman*.
of Directors only.
Fiction:
Thoughts
on Documentary
Storytelling
With three-act
structure
all
story
the rage
among documentary
makers and buyers, one filmmaker (and
wonder whether
there's
still
room
Turn- NCT
his father)
for alternatives.
I
THE INDEPENDENT
May 2001
by
Ralph Arlyck
Sy fA cnKTH
D<"
8wg Bt *\e.l"5ES.'
41 On View
Upfront
Independent projects opening

or airing this month.
News
by
Bush's lead
on
arts
digital carriage; a
Daniel Steinhart
funding and
new
cable
outlet for independents in
New
FAQ &
Info
York City; Crossover dreams.
by
Matt Spangler;
42 Distributor FAQ
PBS Home Video puts
Jim Colvill; Paul
Power
Ken Burns
& Co.
in
your
VCR.
by Lissa GlBBS
11 Opinion
How
to put the public into
45 Funder FAQ
interactive public television.
by Jeff
The National Black
Chester
Programming Consortium,
driving engine behind two
decades of African-American
public television productions.
DVD
by
authoring in the comfort
of your
by
home
Michelle Coe
computer.
Greg Gilpatrick
49 Festivals
14 Profiles
Working
Films' Judith
& Robert West;

Ancestors
in the
Helfand
53 Notices
Loni Ding's
Americas;
Laura Wilson and Cityscape
57 Classifieds
Motion Picture Education

by
Nicole Betancourt;
Tomio Geron; Rob

Sabal
@AIVF
18 Festival Circuit
60 Events
A changing of the guard
at the
62 Salons
Berlinale; the global influence

of
Rotterdam's Cinemart.
COVER: Delving
Claus Mueller;
Scott Castle
by
into
matters
of race:
Roja Productions' [standing L-R]
Camilla Haddad, Jacquie Jones, Tracye
Matthews, Orlando Bagwell;

[seated L-R] Michelle Materre. John
Valadez, Sindy Gordon, and Felicia
Departments
Lowe. Photo: Tom LeGoff
38 Books
Two new books about
Black
filmmaking pioner Oscar
Micheaux; Avid
Editing:
Guide for Beginning and

Intermediate Users
by Brian Frye; Greg

Gilpatrick
M.n
2001
THE INDEPENDENT
TechnoloûÊieeCHneS
J
Ml
HD Camera
Rental
Color-Correction
HD and 601.

.
Motion Control
All Services
DVD
NTSC
Authoring
and PAL
ROLAND HOUSE
HIGH DEFINITION POST PRODUCTION
Tel: 703-525-7000, www.rolandhouse.com
CS^S)
Houston public schools, which produced

a monthly program for the school system.
PBS, which already co-produces Ready
to Learn, Mathline, and other programming with the Department of Education
(which was recommended an 11.5% bud-
The New Old Guard

What's
from
in store
on Capitol
the line-up
Hill?
Matt Spangler
by
get increase),
may seize
the opportunity to
leverage Bush's pro-education agenda to
cooperate even more with the federal
and the arts
Public broadcasting
need have no immediate worries of falling
on the wrong side of one of President

Bush's fuzzy math equations. The 2002
budget recommendations provide for the
Endowment for
Arts and National Endowment for the
continuation of National
the
Humanities programmatic
2001
$120 milion
for the
William
government on programming
Ferris.
Lynch says that states-rights proponent

Bush would prefer that the federal government not meddle in local affairs, such
the
as
1999
over funding for the
flap
Museum
Brooklyn
tion" exhibit.
The
of the Arts' "Sensaarts
community can
san Senate support for "public broadcasteducational impact" and touts the
ing's
agency's plans for a "digital academy" and

"digital kids initiative." Public broadcast-
educational agenda will become
instead expect federal agencies to tiptoe
ing's
NEA;
around potentially incendiary works or
increasingly significant as
NEH), with an
increase to fund staff costs at both
The
agencies.
budget
for
meanwhile,
$350
is.
million,
recommended
at
up from 2001's $340
million. "I think the [funding] fight
was waged
in 1994,
and
that's over,"
who have
says Jerry Starr, executive director of
TV
public
lobby group Citizens for
"I
Weighing
a fairly
Arts, those agencies might see their bud-
He
points to Ms. Bush's record as First Lady
where she championed

KLRU-TV's campaign to raise funding for
its digital transition, was honorary chair of
of
Texas,
the Austin
the Texas
librarian
money
Museum
of Arts, helped found
Book Festival, and, as a former

and educator herself, raised
for public libraries.
Texas Commission on the Arts in
2000, the state
still
ranked lowest among
And
only
offer
one multicast
tion to "program-related streams."
arts.
In other words, cable stations
clear
that
money
we should not spend
it
public
to support obscene material or to
denigrate religion," says Lynch.
Though
some that
may seem incongruous to

the same man who passed legit
islation permitting
guns inside churches
and amusement parks

friend to the arts
Bush has
in
Texas could be a
community, President
actually stacked his federal cab-
who have
broadcasters thought would be carried
lic
under the
now
how
digital regime.
"program-related streams." should be
defined, but public broadcasters fear the
may impinge upon
action
more
to offer
childrens'
ing
ability
its
positive track record with respect to the
cost of the switch to digital, according to
arts.
Secretary of Transportation
Mineta,
who
Norm
Bunton.
Public broadcasting has "huge capital
has jurisdiction over funding
Washington, D.C. Alma Powell, wife of
mann, president and
for public art,
is
on the board of Wolf
Secretary of State Colin Powell
who
will
very publicly suggested that both her for-
have the opportunity to extend the
mer employer and the NEA should be

done away with. But she may be put in
national cultural exchanges begun by the
early
own
party:
February Senate Majority
In
Leader
Trent Lott threw his support behind the

retention
of current
NEH
chair
and
means of
attracting state funding to help ease the
Trap, the performing arts park just outside
check, ironically, by her
as
a fairly
Dick Cheney, who
NEH herself, has
affairs
to serve a multi- channel
audience of 170 million
version,"
though once chair of the
stations' ability
and public
programming. CPB/PBS was also leverag-
expect a free ride from Lynne Cheney,
wife of Vice President
The agency is
comment on
casting about for public
n't
should-
may
channels of programming that pub-
programming. Nonetheless, "He's made
50 in
artists
digital
channel per analog station, in addi-
all
arts funding.
January,
in
tentatively concluded that
not be required to carry the extra
inet with appointees
But, with only $5.3 million earmarked

for the
slots.
on the infamous
cable systems should be required to
that that's
gets inflated over the next four years.
in
"must-carry" debacle
FCC
FCC
by the
jeopardized the availabil-
of those precious
ity
the
with respect to the
see nothing to suggest
on anybody's agenda."
If Laura Bush has more sway in
the process, in fact, says Bob Lynch,
president and CEO of Americans for the
a recent decision
may have
positive track record
Independent Public Broadcasting

(CIPB).
But
President Bush has

actually stacked his
cabinet with appointees
to
the slots multicasting will afford.
fill
the
transitions to
it
and seeks programming
digital
Corporation for Public Television,
for schools,
and museums. CPB spokeswoman Jeannie Bunton speaks of bipartilibraries,
at
activities
($105 million for the
levels
Mississippi native
Clinton Administration
is
inter-
co-chair of
Kennedy Center board of trustees.

Secretary of Education Rod Paige made
frequent appearances on Houston public
expenses associated with digital
while
superintendent
ot
TV
con-
Andrew Schwartz-
CEO
of the Media
Access Project. "Exactly where and how

that's
come is not clear, but it's

come from the federal lv\
going to
not going to
eminent."
the
television
explains
for
Dave Clark,
CPB, agrees
director ot
that the
TV
FCC
operations
action "does
change the dynamic potentially

cantly."
He
\U
is
>igniti-
helping coordinate CPB's
2001
THE INDEPENDENT

"CARPE DIEM"
Workshops start the
first
Monday of each month'

UNIVERSAL STUDIOS
DISNEY-MGM STUDIOS -
Florida*

PARIS,
FRANCE
Princeton, nj*
-
Cambridge, mass.*
CAMBRIDGE UNIVERSITY [
new YORK city
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t ff^t*
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london, England*
'SUMMER ONLY
-rfT^.-

All
workshops are
by the
NYC
10003
tel:
212-674-4300
fax:
New York
212-477-1414
web: www.nyfa.com
email:
[email protected]
which began
fund" program,
"future
searching for a budgetary panacea in the
wake of the
Congress
encouraging
member
addition
In
CPB is
dreaming up
new
the brave
for
to
stations to consoli-
date their operations,

applications
105th
item-slashing
line
(1997-98).
digital
world, such as an interconnection system
one market
that could allow an editor in

to operate
an Avid system in another.
WNVC-TV/WNVT-TV
For
in
Falls
Church, Virginia, which has lobbied
CPB
unsuccessfully for
funding since the
stations lost federal backing in 1998, the
FCC decision on must-carry could impact

its
"What we
very survival.
on doing
is
are planning
WNVC on WNVT's
putting
multicasting channel,"
Elizabeth
says
development director
Harris,
TV
independent public
multicasting
the
for
duopoly. "If this
thing doesn't work out,
we're up the creek."

Public broadcasters seeking
FCC
chair
Michael Powell to lend a sympathetic ear
may
The Wealth of Nations
find a copy of
thrown
State's
in their face.
The
Secretary of
son has made abundantly clear
his
market-based convictions, so despite his
avowed sympathies for the financial drain

on public TV created by its digital makeover, he may insist on the principals
working out a solution amongst themselves.
Starr's
CIPB
alarmed
is
at the prospect
on religious broadcaster Cornerstone TV's attempts to buy

WQED-TV in Pittsburgh [see The Indeof Powell voting again
pendent,
to
May
2000] This could pave the

.
some 70 or 80 public TV stations

go on the block, Starr insists, seriously
way
for
fracturing the system's role as the fore-
most
arbiter of diversity in
The bottom
President's
line
is
mass media.
although the
this:
proposed budget for public
television isn't ringing any alarms, sup-
TV
porters of public
as there are other,
infrastructure
should stay vigilant,

less visible
may be eaten
Matt Spangler
is
ways
its
away.
a Washington, D.C. -based

writer
and filmmaker.
ERRATA
In
the March cover story, the distributor of
Memento was
incorrectly identified,
editing error. The distributor
is
due
to
an
NewMarket
Films. In "Access Meets Art" [April 2000], video-
maker
Ellen Steinfeld's
and the correct
title
name was
of her video
is
misspelled,
Constructing
Hope. The Independent regrets these errors.
Mai
2001
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METRO ANGELS
New
Cable Outlet for
New
when
curating
the
series:
"We had
to adapt our curating
Filmmakers
process," says Maquiling, "because
New
York City Indies
venue
different
TVwhich
commercially driven and
it is
aimed
is
at a
more commercial audience than we

used to at Anthology.
a
more
little
We
have
also
are
to be
careful of content, things
language and nudity. Actually a
like
more
is
lot of
filmmakers are willing to leave out certain
words and edit their
Although the
omit
need
'k
Edward
Dead Broke
Vilga's film
(pictured), cablecast in the Big Apple via the
new Metro Angelika
because we
commercial
content does
festival's
conform
to
films
have commercial breaks."
are going to
to
more
and
television's
Oldfield
restrictions,
Film Festival.
Maquiling are determined not to shy
New York
TV
new cable
them now that
filmmakers have a
outlet available to
After an extended dialogue with vice

president of programming and develop-
away from more difficult material. "We

want to provide a balanced mixture of
stuff that's commercially driven and stuff
that's more challenging," says Maquiling
Cablevision, a division of Rainbow Media,
ment
has teamed up with production/distribu-
the Metro Angelika festival was born.
who
"The
reach a sizable audience:
The
tion outfit Angelika Entertainment.
weekend screening series, entitled the Metro Angelika Film Festival,

described as "a series of fiction and docuresult
is
mentary
films
The
ence."
May
from
about the
first
New York
experi-
be broadcast
series will
18-20 on Cablevision's Metro
at
Metro Channel, Judith Tolkow,
reach out to
of
way for us to
the filmmaking community
festival provides
New
York," says Tolkow. "It also gives
view about the
New
York's
Yorkers,
screenings
will
New
Anthology Film Archives.
The
festival
Oldfield
is
of the weekend.
interviews
Filmmakers
who
for
of
four
and programmed
series at
Anthology
every Wednesday, and in the process pro-
vided a valuable forum for

ers to screen their
new filmmak-
works in front of an
"Our
same
peri-
be complemented by
live
with the featured directors.
goal," says Tolkow, "is to
launch the
and build on
Oldfield
is
similarly
it
ambitious:
vision will have the rights to
in the
"Cable-
show the
package over a period of two to three

years.
and
series in
screen-
future, hopefully leading to a yearly slot."
audience. Oldfield and Maquiling have
expanding the
will
festival this year
been interested
in
The Anthology
ings will take place during this
Maquiling
festival
repeatedly on the channel over the course
David
and
The
scheduled to feature 12 two-hour pack-
od and
years have sponsored
New
the films, we're very pleased."

is
the brainchild of Barney
Angelika Entertainment,
the
and
at
I'm hoping the festival does well
will
be able to go on.
We
would be
order to provide greater exposure for the
hoping to have maybe
filmmakers featured.
There's certainly enough material." At
After considering
Internet distribution, they instead turned

their sights to cable
TV, which led them
to discussions with the
seemed
film
like a logical
festival
about
they focus on the
New
Metro channel.
thing for a
New
York,
because
city," says Oldfield. "In
York the Metro channel
viable
is
the only
source for something like
adds Maquiling.
"It
New York
"It's
Time Warner, and

Warner is receptive
this,"
either Cablevision or
I
don't
think
Time
to this kind of thing"
sports
the festival
just dip-
ages of features and shorts that will run
New
Whether viewed by weekend
pendent film business, so we're
mitted to broadcasting various programs

about, and for
has a huge audience."
York experience. We're not in the indeping our toe in the water and, having seen
coincide with live
which
who might be watching the Knicks

or independent film buffs who seek it out,
Channel (channel 70 on main cable

provider Time Warner), a channel available in the New York region that is comby,
start
will
"It
Friday night after the Knicks game,
us the opportunity to bring to our viewers

different points of
confident that the festival will
is
press-time,
weekly show.
Metro Channel was adopting
a wait-and-see
approach about extending
fans
be possible
know
the
Barney
TV
"We
world," says Tolkow, "and
knows
the
independent
film
world." In deciding which films to show,

Oldfield and Maquiling have,
allows
This
whose debut feature film, Dead Broke, is

part of the Metro Angelika program: "I
think what is exciting about the festival is
that
my
film will be seen in a proper the-
an audience, and yet
ater with
much
I
just
larger exposure
want
will bring
Whereas
to get
it
to a
also gain
through television.
my film seen, and this

much wider audience."
a screening at Anthology might
TV
reach a few hundred viewers, the

broadcasts could be watched by any
num-
ber of the Metro Channel's approximately
three
million
There's
subscribers.
another small bonus for the filmmakers:

according to Tolkow, screened features
$5,000 and shorts
will receive
will recei\ e
a pro-rated portion of this.
up
promises ot
the
to
tailing to live
their
founders,
opportunities tor outlets on other medi

urns are to he encouraged.
Curated cable
outlets for independents are tew
and
between, and the Metro Channel
welcome
list
Jim
t.
is
tar
addition.
however,
found themselves more restricted than
it
at a theatrical screening.
With many online venues

are
involved in the selection process, each
drawing on their own expertise.
significant in that
sentiment echoed by Edward Vilga,
is
the festival into a year-round series.
Both Angelika and Cablevision
is
work of struggling filmmakers to

reach a much larger audience than would
the
lolviU
\l.n
i>
on intern
2001
at
["he
Colvuj.
Independent.
THE INDEPENDENT
On an Independent Film Budget?

Relax and
call
Web Lab Crosses Over
Novaworks Computer Systems.
When Marc Weiss

thing new,
to do some-
decides
worth a second look. Weiss,
it's
founder and former executive producer at

P.O.V, set up the media lab/think-tank
Web Lab
We
We
offer
you expertise
in selecting the best digital
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to register online or call Vicki
bundles
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and expand
in 1997 "to explore
the potential of new media to change peo-
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ple's
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initiative
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the participatory elements of new media."
Crossover will have two main components
workshop (Studio A) and a pro-
duction lab (Studio B). Approximately 30

individuals
CyberStudio
Five robotic
half each from
video and the
cameras
on the
selected
Broadband internet streaming

Virtual sets and more
new media
and individual
the
film/
be
worlds
will
basis of project proposals
come up with new
skills to
models, ideas, and ways of communicating their visions to a wider audience.
month
One
development of ideas in
after the
Studio A, participants will submit specific
which
project proposals, from
Digital
Cameras
will
five to
be chosen for Studio B
10
a format
modelled roughly on the Sundance Labs.

Bentals
Projects emanating from Crossover will
crews
be taken into production by
Classes
good independent film

cocious, breaking
Digital Editing
new
AVID online/offline suites
is
to cinema: pre-
new ground, with
and with the potential
lots
of
to be
commercially successful."
Final Cut Pro suites
Classes
ideas,
Web Lab and,
new media what
says Weiss, "will be to
If all
"
of this sounds vague,
Weiss admits, the concept
What
new
direc-
is
Weiss
however,
sure
of,
because,
quite clear
anybody's guess.
but the outcome

is
it's
is
is
tion with a unique marriage of film, video,
and new media that incorporates an
SYMPHONY
meet expectations; we're here

them.
The
goal
inter-
"We're aren't here to
active element.
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to explode
to create projects that
have an impact on the culture."
Special offer
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Downtown Community Television Center (OCTV)

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MM
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m^^
Crossover
is
funded by the Rockefeller
Foundation, supported by the
Gilman Foundation, and has

sory
group comprising the Sundance
Institute,
Institute.
DGA, and
May 2001
New Media
organizations
include FAF, ITVS, Creative Capital,
mail joj pua.ui e auoiid flew noA

ieuj| jnoft
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Applications available
IFP,
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org; deadline: July 13.

Paul Power
THE INDEPENDENT
Banff
Supporting
SAG, AFTRA, RESFest, and AIVF.
'
j3msue
10
Howard
a core advi-
is
managing
editor of
The
Independent.
GtS^J^SS^J^J
creation
PBS
of six
"walled gardens"
(closed online content areas that restrict
Where's the Public
in
browsing to specified
based on
sites),
Nova, Zoom, Mr. Rogers, and other PBS
Chester
RespondTV
troversy."
join their local
the digital future, public broad-
ingly, into
casting represents our best hope of stak-
tional products through their television."
what ITV
tain exactly
be
gram
of electronic pro-
video-on-demand, online
guide,
shopping,
turn out to
will
some combination
cer-
games,
multi-player
and
no doubt but the danger that ITV will become a thoroughly

Internet access,
commercialized platform
And
that's
why
a real one.
is
public broadcasting's
moves in this area are so important.

Most of the nation's cable companies,
seeking to cash in on the e -commerce
revolution, have upgraded their systems
to
full,
two-way
ushering in a
digital
new
communication,
era of "enhanced" or
interactive television. Tied to intelligent
set-top boxes
and other household and
personal appliances, the
new system
marry
and
the
simplicity
will
emotional
impact of television with the depth and

diversity of the Internet,
producing what
Deutsche Bank has called an "advertising

nirvana."
More
&
casting
to the point, as Broad-
Cable magazine pointed out,
"interactive advertising dollars will posi-
tion broadcasters
to
capitalize
rewards of target marketing,
them
to take
worlds,
i.e.,
aim
the
TV
at
on the
allowing
the best of both
and the
Internet...,
what
[with] the ability to track
a user
is
new
While the pubcasters'
spree. For the full public-interest potential
of
ITV
to be realized, however, public
broadcasters will have to
three
broad fronts
exemplars,
and,
as
move ahead on
advocates,
recalling
the
as
original
Carnegie Commission on Educational

Television
mandate
for public broadcast-
ing in 1967, as "a voice for groups in the
community
that
may
otherwise
be
the Public
and the lobbying
Broadcasting,
organization
known
Television Stations
ticularly
vocal in Washington
't-commerce temptation' that
determined
take a strong stand
now
is),
for
it
needs to
an open ITV
platform. As the recent AOL Time

Warner merger review made clear, there is
no end to the mischief that the cable
giants
can engage
in, free as
direct competition,
living
they are from
criminate against unaffiliated online con-
The
tent providers.
safeguards that the
upon
Federal Trade Commission insisted

in
its
approval of the merger (prohibiting
AOL-TW
from interfering with the ITV
"trigger" signals that

tivity possible,
make viewer
and opening up
interac-
their plat-
form to competitive Internet service

providers) should
now be extended
to the
rooms
into
our
in
entertainment
vending machines."
In the overheated
ITV
marketplace,
full
of product tie-ins and impulse shopping,
PBS
will
that.
have to
example than
set a better
Communication
com-
rather than
merce should be the key
to the interactive
public television revolution.
they seek to dis-
if
transform the
to
set-top boxes sitting
making occasional pleas for increased federal support and fending off attacks from
right-wing politicos, that
who seem
the cable operators,
par-
(beyond
resist the
has captured the imagination of
America's Public
as
has never been
public
Finally,
recall their
lic
own
should
broadcasters
Our system
past.
of pub-
broadcasting was founded, after
all,
on
the principles of openness and diversity,
and
that's
still
a standard by
which public
broadcasting must be measured.
"We
seek
for the artist, the technician, the journal-
the scholar, and the public servant
ist,
freedom
to create,
freedom
to
freedom to innovate,
be heard in this most
far-
80% of the cable market beyond AOLTW's reach. Even though it's likely that
reaching medium," wrote the Carnegie
PBS,
izen
be
for its "halo effect" alone, will
welcomed
into
ITV
cable's
fold,
as
trustees of the public interest, pubcasters
should advocate for an open
grammers
American homes could turn out to be

much more than a televised shopping
troika
Broadcasting Service, Corporation for

Public
"PBS must
how and whether
things)
pique a consumer's interest."
of
determine
platform should be regulated.
that will allow other
platform that cable will deliver to millions
Federal
in order to
viewing and then target advertising to
But the new interactive, broadband
The
first.
ITV
inquiry into
(among other
is
station, interact with
munication Commission has launched an
this
no one
PBS
program sponsors, and purchase educa-
emerging new medium of interactive

vision (ITV). Admittedly,
with
that will enable viewers "to
Com-
things
First
ing a genuine public-interest claim in the

tele-
issued late last
agreement
an
heralding
unheard, ... a forum for debate and con-
AS WE MOVE FORWARD, HOWEVER HALT-
PBS
the press release that
year
by Jeffrey
do not sound promising. Nor did
staples,
Interactive Public Television?
ITV
platform
noncommercial pro-
to participate in this important
part of the digital revolution.
Second, in launching
vice,
PBS must
resist
its
own ITV
ser-
temptation" that has captured the imagi-
who seem
determined to transform the set-top boxes

sitting in
our living rooms into entertain-
ment vending machines. More importantly, PBS must reach beyond its own "moreof-the-same" inclinations
the content-rich
raise
funds,
ITV
flatter
merely
platform, that
underwriters,
using
is,
to
and
"We
in 1967.
freedom
the present system, by
denies
seek for the
to view, to see
him."
When
its
cit-
programs that
incompleteness,
PBS,
just
over a
decade ago, was judged to have fallen
far
short of that ideal, advocates pressed for
Independent
which continues to
establishment ot the
the
Television Service,
the "t-commerce
nation of the cable operators,
Commission
address the issues of diversity and inclusiveness.
And
now, with the
wiped
slate
clean by the shift to the interactive, digital
platform, public broadcasting has an
opportunity to re-invent
discover
its
itselt,
Jeffrey Chester directs the

Digital
paigrt
and
to re-
roots in the process.
Democracy. He helped
Campaign for
direct the
cam
which established ITVS and coded the sue-
cessful effort to
impose open access and content
iajeguards as a condition oj the At
)L-Time
Warner me
repeat past successes. Early reports of the
May
2001
THE INDEPENDENT
g<
11
GiEi
5)
Although Compaq's is based upon the
same Pioneer drive as Apple's, their
approach is to include software from
Author, Author
DVD Authoring Systems for Your Desktop Computer
Greg Gilpatrick
and Sonic Solutions.
Compaq
is
less is
The
DVD Studio
Pro: Apple's
releasing
Since
system after
their
known about how
theirs will
work.
heart
process
<
Pinnacle
like
Systems
Apple,
by
companies
existing video
DVD
of the
combination
is
authoring
CD-Re Writable/
DVD-Recordable drive manufactured by

Pioneer. This means that the drive can
write to CD-R and CD-RW disks, like
DVD
authoring software
many
drives today, but
it
can
also write to
DVD-R disks that can be played in
special
DVD
standard
write to
DVDs
The technology to
many years,
decks.
has existed for
but until Pioneer released this specific

drive, a device for recording to
DVDs cost
several thousand dollars more.
Apple seems
this
have been planning
to
for
product for a long time. They are
simultaneously releasing two software

products for authoring
iDVD,
follows
in
DVDs. The
first,
the steps of Apple's
other free iApplications (iMovie for editing video and iTunes for working with
MP3 music files) and is included for free

on any computer with the SuperDrive.
iDVD
features an intuitive interface with
automated controls and presets

converting video and
stills
to
for easily
DVD. There
are several types of menu styles built-in to
DVD Studio Pro
iDVD and
the process
is
simplified to the
point of dragging your quicktime clips

MHz PowerMac
The 733
G4's
from iMovie, Final Cut Pro, or any other
SuperDrive, capable of writing DVDs
video editing application and burning the
DVD.
Another
feature
slideshow
While independent filmmakers around

the country have purchased their
miniDV
cameras, decks, and editing sys-
tems, there
still is
one
link in the produc-
remained
tion chain that has stubbornly
analog
home
exhibition. Until now,
you wanted to show your pristine
work
to
your
friends
and
tape. Finally,
it
VHS
new technology from com-
puter companies
create
if
digital
family,
required dubbing to a low-quality
Compaq
own
Pioneer,
Apple,
and
allows independent producers to
DVD disks with their desktop com-
puter that can immediately play
DVD players
DVD drives.
Introduced
on home
and computers with
built-in
ence in January by Apple
CEO
under the catchphrase "Power to Burn,"

Apple's
DVD
products are aimed both at
the professional media producer and con-
sumer-level hobbyist.
Apple's products
two software programs and a
include
device
DVDs
writing
for
"SuperDrive." At press
Apple
computer
SuperDrive
is
the
the
Macworld
confer-
dubbed
time the only
available
with
high-end 733
be sure that
prices drop
include
MHz
In the
as availability increases
on the SuperDrive, Apple
and
will
Windows PC
world,
integrated
DVD
with
Compaq
is
announce an
authoring system so
far.
digital
THE INDEPENDENT
May
2001
digital
ers.
who have found
For media producers
production and
its
it
feature
stills
of a
crew along with the
itself.
The second
Apple
al
with oth-
this
could also be useful to showcase
video
make
pictures.
a significant tool for those
cameras
difficult to share their pictures
is
DVD
application
one aimed squarely
media producers.
from
at profession-
DVD Studio Pro

DVD authoring
is
based on the Astarte
technology Apple bought about a year
While
utmost
iDVD
simplicity,
is
designed for the
DVD Studio Pro allows
the user to configure every option avail-
DVD video specification.

DVD Studio Pro allow includ-
able within the
Features of
12
the ability to
is
your
a simple sounding feature, this
may become
ago.
across their product line.
it
Although
the
PowerMac G4. However, one can almost
the only manufacturer to

at
Steve Jobs
of
ing up to 99 video tracks, Dolby Digital
AC-3
PAL
audio, links to the Internet from
menus, eight audio streams, 32 different

subtitle streams, and nine different cam-
& NTSC
DVD Video Authoring

Final
era angles.
Cut Pro Editing
AVID Editing
Beside the extreme difference in technical ability
much
allows
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Mn
2001
THE INDEPENDENT
13
ludith Helfand
&
participants.
film's
moment when he
Carolina to determine the most effective

strategies. Finally, they take these targeted
met Helfand:
"I
if
PACKED HOUSE WATCHES YOUR Documentary film on an important social issue.
basement of the
Church and stepped into
When
full
to the
of folks,
into applause, then engages in a heated
about.
discussion. Grassroots organizations at the
when
event offer resources on the
haired
issue. It's a
Robert West made

for countless
this
Museum and
Most people would
around
events
many
social
In response
shelf lives.
1996. Their
feel satisfied
first
was From Farm
NC,
But West
were The
mentary
and
and independent docuon North
economic
shown
history.
Among
the
in classrooms across the state
Uprising of '34,
Fast Food
Troublesome
Women.
February
In
Judith
launched
Helfand was co-producing and co-direct-
as
2000,
Working
Films
organization.
getting
festival... by
Invisible Revolution,
son's
Utah
tive
another
Peter-
screened at the
statehouse." This film
is
a provoca-
account of young people involved in
movement
the white supremacist

as those in the
as well
counter anti-racist
movement. The screening was
ARA
perfectly
timed, occurring the day before legislators
voted on a hate crimes

passed
its
Senate (and
is
bill.
The
bill
two votes in the State
first
waiting a
House vote
at
press time)
They also helped organize a discussion

Sundance around Sandi Dubowski's
G-d, during which
Trembling Before
Mormon
father,
power, and economics in
beliefs.
And
the South today. In 1994, Helfand and
based in North Carolina with West, while
Hostile
attending with his wife
babies, shared his struggle to rec-
and
bisexuality
his
spiritual
they set up a screening of On
Ground, Jenny Raskin and Liz
Mermin's film about the
attrition of abor-
tion providers, at the University of Utah's
City.
"Social change happens because people
the
Sundance documentary, Beverly
his
Charlotte
emo-
political,
impact on the
pulled off what was easily the biggest coup
of
and two
New York
had
spiritual
Weekly declared, "West and Helfand
oncile
Helfand works from her base in
full
community. Paul Malcom of the
local
Helfand and West help filmmakers devel-
Stoney went to
and even
tional,
op issue -specific models for fundraising

and outreach campaigns. Working Films is
labor,
this
advantage of the spotlight. They planned
ing Uprising of '34 with George Stoney.

film ties the General Textile Strike of
invit-
West and Helfand took
Before G-d.
at
full-time
were
and Trembling
Revolution
Invisible
The
1934 to
Hr
year:
Creek, Tobacco Blues, Going to Chicago,
then afterwards that force

York,
the Job in
films to teach curricula
Carolina's
dissipate," says West.
New
On
Food:
a statewide educational project that
films
in
major project together
to Fast
these great films can do, capture an audi-
Meanwhile
that glaring
to
problem, Working Films was conceived in
ence in a way that became a collective

but
dark-
film.
uses the Internet
force,
lively,
me, with arms
at
using
wanted more. "The event would be over

and you'd think: was what happened here'
enough? It was powerful to watch what
would
room,
They were both committed to

documentary films for social
change. Both saw that independent documentaries were under-used and had short
her
the
successful film
issues.
right
Films' projects
at the
of
longest-running gay film series in North
having produced so
spotted this lovely,
woman coming
Two Working
ed to the Sundance Film Festival
LA.
North Carolina. In addition, he was the

founder and director of the Charlotte Gay
and Lesbian Film Series, the first and
Carolina.
had the
campaigns around the country.
that was
Helfand organize other local screenings of
Film and Video Festival in
Charlotte
room
12
a reality
and video
director
in conversation or milling
all
wasn't sure
Methodist
First
tration.
first
a series of events that
filmmakers during his
years as curator of film
Mint
dream
he would loan
upraised, saying, 'You must be Robert!!!!'

That was Judith."
Over the next two years West helped
filmmaker's dream screening.
film-
lugged the projector
describes the fateful
the lights go up, everyone bursts
makers, and handles day-to-day adminis-
the out-of-towners a video projector. West
first
director,
vital
friend of theirs
phoned West and asked
Nicole
he writes grants, works with
of the
a
When taking on a project, they

come up with an outreach plan. Then
they usually do their first run in North
piece of equipment.
WORKING FILMS
by
some
They lacked
to screen a rough-cut for
Robert West
medical school. As a
result,
more medical
**~*
moved, and because they're moved

they want to do something," says Helfand,
who has dedicated her life to moving peoare
ple with film.
Baby
Girl,
Her
last
is
Healthy
was a video diary of her
family's
DES -related
cancer.
experience with her
She
work,
currently in postproduction
sequel, Blue Vinyl, a toxic
home,
family,
vinyl
on the
comedy about
industry-
siding,
1 sponsored science, and the ecology of

;
For Working Films, Helfand keeps tabs

the latest documentaries in produc-
ts tion,
develops partnerships, and works
with foundations. West devotes

time
14
TlJE
INDEPE
INDEPENDENT
to
now
being trained as abor-
tion providers in Utah.
As West
"The end game is

Whether that's impact on
explains,
really impact.
the public or public policy, that's where
we keep our
sights."
Working Films, 602 South Fifth Ave.,

Wilmington NC 28401; (910)342-9000.
In New York: 200 West 72nd St., New
York,
NY
10023;
(212)
875-0456;
fax:
501-0889; www.workingfilms.org.
denial.
P on
students are
Working
Films.
As
all
of his
executive
Nicole Betancourt
is
an
Emmy
Award-winning
filmmaker and Creative Director of

MediaRights.org. For more information about
Working Films and how

outreach campaign,
to design
visit
a documentary
www.MediaRights.org.
Any documentary covering Thomas
Japanese Americans whose families were
ed legal and
and Clark, and the

Transcontinental Railroad might seem
like a typical hour on the History
detained
camps during
sionary laws.
Lewis
Jefferson,
Channel. But Loni Ding's Ancestors

Americas
is
in the
not your typical historical doc-
umentary. Ancestors
two-part series
World War
in
prison
U.S.
in
II,
which eventually resulted
The
political challenges to exclu-
who
first-person narrator,
an apology from President Reagan.
an all-encompassing ancestor,
In contrast to her previous work, which
interesting
covered specific
needed
issues, "I felt [Ancestors]
done
to be
in a
more fundamental,
and
pect of the
daring
technical
Ding did
film.
acts as
the most
is
narration herself, and drew
as-
the female
all
on
actors
Sab
March and again on

this month
is the first
foundational way," says Ding. Here she
Shimono
attempts to chronicle the entire history of
first
television series attempting to chronicle
Asian Americans and shot footage in
ond. Using this kind of narration was
Hong Kong, China,
especially difficult, but ultimately neces-
on PBS
that aired
in
selected stations
the long history of Asians in America.
An
unusual mix a fictionalized first-person

voiceover,
historical
and contemporary interviews,
it
program and Pat Morita
sary for Ding, because of
stills,
and the U.S. Despite funding

cutbacks and other obstacles, Ding raised
spans the
$1.8 million for the project over 11 years.
sense of place,
and
footage
Cuba, the
India,
male voiceover
for the
world, covering not only the
migra-
Philippines,
The
the
and MacArthur foun-
Rockefeller, Ford,
dations,
Lord Ding
NEH, PBS,
Funders included the
NAATA,
program focuses on the
series' first
17th to 19th century global migration of

Filipinos
and Indians and
Mexico,
to
human
voice, so information
voice
what
it
rather than just infor-
is,
mation."
Ding
method
first
tried
does not try to give a
Chinese history in the Western
"What
to cover
felt it crucial
migration to areas outside the
North and South America and the Caribbean,
because "we have to
U.S.
understand the global con-
moment.
side of [the past]

physically.
To be
To allow yourself
sciousnesses." In Ancestors,
I'm interested not only
in a
group-by-group
ing from
but
Such an ambitious project
11
years
the
in
making could only have

been attempted by a filmmaker of Ding's standing.
Ding has a long history in
all
history
history
KQED in San Francisco,
on Asian Americans, including
ed to
tied
is
to
1870 testimony of a Chinese
worker while the video shows workers in

present-day China.
As Ding
experience."
is
working on
cover
will
the
the
late
is
slat-
It's
At the same
time,
Ding does not want
the piece to get narrowly defined as an
fall.
objectives: to
accurate,
make
the
but at the
Asian
story.
"I'm not interested in a nar-
rowing framing of experience to talk
Bean Sprouts (1980), Nisei Soldier (1983),

which was one of the early films by an
same time
Asian American to
tography of hidden monuments, such as a
out in terms of economics,
maze of irrigation ditches
ture, personal
on PBS, and The

Color of Honor (1988). As a media policy
advocate,
she
air
helped
to
The
make
it
moving and
series contains
enter-
dramatic pho-
in a forest, long
about contributions people made. The

story
is
much deeper than
human
forgotten roadside tombstones, and lively
ested in
National Asian American Telecommun-
interviews with contemporary Chinese in
learned
Cuba. With academic precision, Ding
connections to the
ications Association
start
and ITVS.
Ding's work has always had an explicitly political
edge.
"My
natural response
is
shows why
it
was so important
for
Thomas
Jefferson to have Chinese plates to eat on,
all
Ancestors airs this
New
exposed the hidden history of Japanese
"New World."
94709; (510) 848-1656;
American incarceration in World War II.

"I made The Color of Honor right at the
Chinese not only
time of redress movement," Ding says,

referring to the 1980s
movement among
illustrates
She
shows
how
how
in
these
the
built railroads and

worked the fields, but also brought useful
knowledge to the U.S on such subjects as
irrigation
and orange farming and
myself
these
all
I
find
month on PBS
CET,
from China played
laid
it
very exciting."
events relate to Asian migration to the
role tea
learn.
rest of world.
world markets, then
and the
It's
politics, cul-
these things about
do something about injustice," she says

from her home in San Francisco. In Nisei
Soldier and The Color of Honor, Ding
to
that.
meaning. I'm inter-
what you can
the
also
explains,
"You're not trying to get lost in that time.
which
historically
taining.
occurs,
this
male voiceover read-
episode three of the project,
Ding had twin

series
to
places.
an active reaching for it. You have to

work for it. I'm trying to have us understand what these events are as human
Currently Ding
'
air in
in
tie
and how
1880s to the 1920s and
then making ground-breaking documentaries
they
other regions in the world."
independent media, producing shows for
how
American
American
history,
two
have both those con-
to
text.
and West.
Ding,
says
the stance out-
mixing past and present
contact between the East
history
is
in at least in
for example, with a
the
scene of the
literal
Rather,
I'm interested in
of
but also
"docu-memoir"
this
in Nisei Soldier. This approach
historical
Ding
and
characters,
she explains. "There's a feel-
itself,"
the Caribbean, while the second relates
tion of Asians to
emotional
its
conveyed in the
is
Chinese to Mexico, South America and
frontier.
for the sec-
impact. "You have to create and express a
ing for
and Citibank.
in the
tions
in
York,
Boston,
sta-
and Los
Angeles. For further information, contact:
1940 Hearst Ave Berkeley,

tax:
CA
(510) 841
Tamio Geron writes about film
and urban politics in Xcw York City.
initiat-
May
2001
THE INDEPENDENT
15
The Independent Feature Project

presents the 23rd Annual
JFP
MARKET
September 30 -October
New
5,
2001
York City
OSSIBILITIES.
INITE
START THE JOURNEY
2001
CALL FOR ENTRIES:

Early deadline: May
Final deadline:
Nt
18
June 8
Filmmakers & screenwriters:

submit features, works-in-progress,
scripts, shorts, and documentaries
to the original Market devoted to
American independent filmmaking.
FOR AN APPLICATION:
visitwww.ifp.org
or contact the IFP at
104 West 29th
New
York,
Street. 12th Floor
NY 10001-5310
P:
212.465.8200
F:
212.465.8525
E:
[email protected]
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diversity
In
and democracy
expression of ideas
in the
communication and
and images.

1 The
Association
is
for
independen
and independence;
filmmaking
economics
is
it
excellence,
commitment
more than
just a job, that
it
goes beyond
human
values.
efforts o1

is
for the continuing
growth
of
filmmaking.
limit its
ideology, or aesthetic, but furthers diversity of vision

artistic
and
in
as valuable,
vital
film
is
exhibition of this
work
to the
community
at large.
Fade
is
MIT
in:
Professor Henry Jenkins
giving a lecture to a group of prospec-
filmmakers about the style and sensi-
tive
man whose name
of the
bility
mous with
tion film,
synony-
is
start.
their
get
Suddenly,
the map.
Cityscape
on
is
umn
Boston Globe announcing the
hardly a highbrow
dents
affair.
interested
aren't
But these
stu-
Corman
in
for
Corman/Cityscape
town,
Sunday
the
appears in
over
All
deal.
writers
aspiring
purely academic reasons; they're going to
dust off their B-movie treat-
be working for him
ments and
sort of.
Flashback, early 2000: Laura Wilson,
an energetic young filmmaker completes

her graduate work at Emerson College
them
fire
off to
She and Cityscape's
Wilson.
program
Paula
director,
Ribeiro, pore over the entries,
educa-
arriving at three top choices.
Boston Film and Video

Foundation (BFVF). Wilson envisions an
Treatments and scene outlines
innovative approach to film education
offices,
where students
vice president of development, evaluates
and
working
is
tion
as the director of
the
at
serve
actually
will
as
apprentices in key roles on professional
She and her mentor, the venRichard

filmmaker
Boston
are
the
to Corman's
where Frances Doel,
forwarded
stories
the
for
plunks
characteristics
Corman
that
signature:
film shoots.
reflect the traditional
erable
an action-oriented suspense story with
commercial potential. After
Broadman,
pilot the idea in a short-film
clear
class at the
BFVF. Broadman dies sudden-
is
the
in
Hollywood and Never Lost a Dime.
ly,
catalyzing Wilson into action:
she's
determined to find a way to launch
new approach
Cut
to:
this
Together, Cityscape and
Robert Patton-Spruill,
the
1996)
(Squeeze,
opens FilmShack, a professional production
and postproduction
facility
with a
full
range of equipment services. Plunging for-
ward with her apprenticeship
idea,
Wilson
this
all,
company whose founder recently

published How I Made a Hundred Movies
to film education.
Boston-based director
Horizon purchase
by
Strangler's Wife
school grad
who
The
of a
story
the
Concord-New
rights
Mark
to
The
Dickison, a film
now a Boston attorney.

woman who begins to
is
actually
the Boston Strangler, The Strangler's Wife
Corman
is
FilmShack with access to production and
adapting the story into the present and
agreement
in
With
Wilson
hand,
this
a sixties period piece.
suggests
the initial script revision begins.
By May, Cityscape
attracts
al
officially
by an experienced profession-
filmmakers prior to production; these
then supervise
professionals
will
apprentices
during
there
are
phy.
Each receive
training
on
35mm cam-
an opportunity to serve
and have
on the camera
unit.
opens
its
They
also
camera operate under the
supervision of the professional in charge.
There
are apprentices to the director,
production manager,
line producer, unit
sound recordist/designer,
tor, script
assistant direc-
supervisor, production designer,
and in the grip/electrical unit.

Most of the apprentices, in their late 20s
and early 30s, have long held aspirations
editor,
of being in film production. Cityscape
doors and a lucky group of eight appren-
Education Program,
Oullette of Yankee Classic Pictures guides
school, quitting their day jobs,
the revision of The
Los Angeles or
The
Turning
last year.
Point:
Even
before
work on the Corman
project. Paul
Strarigler's
Wife in a
Cityscape opens, Wilson has the good for-
collaborative
tune to meet Roger Corman, who's in
transforms the scene outline into a
Boston attending the
and Video
Festival.
New
England Film
Wilson outlines her
vision of Cityscape's apprenticeship pro-
gram
to
Corman, who loves the
idea.
Freed from the constraints of a traditional
academic program and with
ment
offer:
commit-
Cityscape seems viable.
week
His
Corman faxes Wilson an

company, Concord-New Horilater,
zon, will provide $60,000 in production
and disCorman,
helping young tal-
class
that
fin-
gives
play goes to Doel,
who
provides the class
with feedback and suggestions. As with
any low-budget
film, says
Wilson, "limita-
tions require creative solutions,"
up to the
and
it's
class to generate these.
mences. Wilson uses her extensive con-
recruit
and able
to teach.
She
who will
community
to
filmmakers willing
professional
also chooses the 26
on
funds, help develop the project,
apprentices
tribute the finished feature. Says
feature production and get a screen cred-
"I've always believed in
it
on
learn their trade
a distributed film.
chance to
try
out filmmaking
New
their credit cards
York, or
making
moving
Each apprentice
to
maxing out
a film of their
own.
Roger Corman, the legendary filmmak-
who launched the careers of such wellknown directors as John Sayles, Jonathan
Demme, and Peter Bogdanovich, is helping Laura Wilson open the door for a new
er
group of aspiring filmmakers.
Meanwhile, preproduction work comnections in the Boston film
them
without enrolling in a traditional film
ished script. Each version of the screen-
to using professionals in key posi-
tions,
screenwriting
three
apprentices to the director of photogra-
enough investor financing to launch her

new company, Cityscape Motion Picture
tices
the
production
the
For example,
process.
is
understand that her husband
down between $1,100 and $1,900
for training
era equipment, learn lighting,
convinces Patton-Spruill to lease space in
postproduction equipment.
Rob Sabal
by
In April, a short col-
Mama, Swamp Women, and The
it's
CITYSCAPE MOTION
PICTURE EDUCATION
com-
mercial/educational project."
of more than 50 films, including Bloody

Trip,
Laura Wilson
also liked the idea of
participating in a joint
the action-oriented exploita-
Roger Corman. With an oeuvre
filmmakers
ented
another superb talent
Perhaps
will step across the
threshold.
Cityscape Motion
227 Roxbury
(617)
St..
442-4200;
Picture
Boston,
Education,
MA
02119;
lwilson@cityscapefilm.
com; www.cityscapefilm.com.
Rob
Siihdl
is
d filmmaker
who teach
Emerson CoHege
M.n 2001
tn
THE INDEPENDENT
17
(^
'J,'
'/r\'
CIRCUIT
nent
will benefit
filmmakers.
A Cultural Cornerstone
The
Yet there
while Beckie Probst retains her position as
Berlinale at the Crossroads
Claus Mueller
by
the chief of the European Film Market.
Even the replacement of Ulrich Gregor by

his collaborator
New
Cinema, plus various
sidebars.
Next
Forum and Panorama will be

as parallel complemen-
year the
upgraded and run

events
tary
the
to
Selection.
Official
According to Ulrich Gregor, who served
Forum head
as
need
for 31 years, there's also a
for "a greater
transparency of deci-
festival favorite:
I
Saw a
tor,
Hadeln, was recently
Moritz de
replaced by Dieter Kosslick, the
man who
NRW
Germany's
transformed
Foundation into Europe's second

public
funding source
Film
largest
films
for
[see
film festival, the Berlinale
means
is
now com-
funded by federal agencies. This

sufficient resources will
be avail-
able to Kosslick to innovate, following the
strategy of
Germany's former Secretary of
Culture, Michael
Naumann,
to transform
Berlin into a principal cultural metropolis
of Europe.
The
Berlinale serves as a cor-
nerstone of this metropolis, which
is
one
why Naumann was instruremoving de Hadeln and
of the reasons
mental in
quality
has
The
Berlinale consists of the Official
Selection,
the
somehow subordinated
Panorama, the International Forum of the
18
THE INDEPENDENT
May 2001
the
is
upscale in cultural orien-
and interested
audience an "exemplary"
Berlinale
public, to quote
(beispielhaftes)
The
Speck.
in intelligent films.
has
Berlinale
Wieland
therefore
ductions aimed at major urban audiences
other Berlinale observers expect Kosslick
via the arthouse circuit. Principal buyers
critics
upgrade the quality of the Official
stars
De Hadeln was more
interested
and favored market-oriented

films.
Many
required
festival
films at this
reflection
little
(Hannibal, Traffic, 13 Days, Chocolat,
compared
Finding Forrester)
and
the few
to
that did (Wit, Quills, Bamboozled). Twelve

of the
and producers from public and some
non-theatrical sector. For numerous

val directors participation
since the Berlinale

festival
the
in
is
the
are
major "A"
first
offering
audiences,
the
Panorama
are
and
ideal entry
points. Yet filmmakers should note that
few indie productions are "discovered"

the Berlinale.
at
Most have been already
identified by potential buyers at the last
Sundance
festival,
the IFP Market, or
other international venues. For example,
criteria.
Modifications
festi-
mandatory,
For U.S. independent films seeking
European Film Market
and commercial
do
selections for other festivals that follow.
and directed by a
German. Under Kosslick the pendulum is
expected to swing toward more innovative and controversial films. As his track
artistic
is
calendar year,
such
produced
pri-
as
representatives from the limited European
28 features in the Official Selection
feature
for pro-
vate television networks attend,
were U.S. -made, yet there was not a single
also
due
for
the
though 266 productions from the U.S.
European Film Market [EFM], an impor-
were submitted to the Forum
tant appendage to the Berlinale, which,
Gregor did not select a single film from
with 330 films
this year,
has run out of
this year,
that group. In his words "the films were
too market-oriented, had
Having launched a co-production

conference at the 2000 Cologne Medien
value, and frequently recapitulated con-
Forum, Kosslick
tent and format of other films." Virtually
space.
is
likely to recapitulate
this at the Berlinale.
He
will
probably also
become involved in the local film foundation scene, which has not been too receptive
appointing Kosslick.
an audience-ori-
Directors and programmers both consider
November
pletely
is
press, since the
ancing act serves well to reconcile
national
which
festival
tation
record at the foundation shows, his bal-
As Germany's
annual
public,
"Teutonic Treasures," The Independent,

2000].
from Venice and Cannes,
distinct
international
Brief
Hollywood-type
direc-
Gregor con-
become Europe's primary conduit
year's
It
Festival),
and
in
the top three European
York Film
Venice and Cannes. Thus
Selection.
about to change.
New
tinues to influence the Forum.
long been considered to be lagging behind
to
is
the
covered by the
Jonas Mekas
Was Moving Ahead

I
hardly
Selection
among
Freunde
der
Kinematek (roughly comparable to the
Lincoln Center Film Society, which holds
ented event serving a major metropolitan
is
artistic
film festivals,
the director of the
the trade journals, the festival
of the Official
Venice
As
Deutsche
As
Glimpse of Beauty.
ranked with Cannes and
trained by Gregor.
influential
Berlin's
Occasionally
(or Berlinale),
will
Berlinale as a world festival." Apart from
As
Festival
Christoph Terhechter
not be dramatic, since Terhechter was
sion-making and a better profiling of the
The Berlin International Film
Wieland Speck
continuity.
is
continue to helm the Panorama,
will
to
U.S.
indies.
Overall,
greater
all
little
innovative
the U.S. films he chose were hand-
picked
through other avenues. Thus
Shelly
Dunn
Brigit
Berlin
Frumont's Pie
Story
in the Sky:
was discovered
The
five
expansion of the market, and the possible
months earlier at the IFP Market, and the

monumental As I Was Moving Ahead
introduction of a co-production compo-
Occasionally
openness towards challenging
films,
an
Saw
a Brief Glimpse of
Avid Editing
Beauty, a five -hour film by the godfather
of independent cinema, Jonas Mekas, was
booked
personal communications
after
ProTools
Sound Mixing
with Gregor.
This
markedly different from the
is
More
experience of the 2001 Panorama.
U.S. independents were presented than

in past years, apparently reflecting greater
ISLANDMEDIA
212.343.8020
innovations in script and production
This year's crop of U.S.
approaches.
indies included
compared
out of 56
1 1
to last year's six.
as
titles,
Many
dealt
with gay/lesbian/transgendered themes or

with Germany's past
two
which
areas in
Panorama and Berlinale have tradibeen strong. The Panorama programmed 10 of the 40 official Berlinale

the
tionally
that dealt with gay,
selections
and transgender
Such
issues.
very well in Berlin, with
lesbian,
com-
munity and multicultural tolerance. The

Berlinale
is
also the only
major A-list
DAILIES
fes-
which
or transgendered topic, the Teddy,

initiated by de
Hadeln.
constant theme in the Berlinale
Germany's past
SYNCHING
DIGITIZE DIRECTLY
FROM DV
AVID CLASSES
with an award for best film on a gay
tival
was

101 GIGS HARD DRIVESPACE
films play
large gay
its
MIX TO PICTURE
is
the Third Reich, the
Holocaust, or related topics. For Wieland
Speck, whose documentary Escape
The Klaus and Erika
Mann
Story
to Life:
was pre-
sented at the Berlinale, this concern will
IVID
hold for future years, too, since "there are
thousand of themes remaining from that
German
history [that] present
conflicts or issues
which can never be
period in
resolved."
Such
films
still
attract sell-out
crowds.
Meanwhile, the Independent Feature

Project's [IFP]
showcase in the European
Film Market screened 10
new American
productions, selected from 120 films at

the IFP market in
ing September.
New
York the preced-
The showcase seems
gaining in importance,
more IFP
since
Rll In
r>
MC Off jne/Online
f>
PC
One Location
or Mer!
Excellent
upport
DV, Beta, 1/2", 3> v^DAT
UNCOMPRESSE
or
AVR 77
Onlines
Bombay Eunuch,
to be
year
Among
them,
a sensitive treatment of
9 Sound
marginalized transgendered communities

in India
Sean
(by directors
Alexandra Shiva,
MacDonald,
Gucovsky)
is
in
and
Michelle
negotiations with the
French-based distributor F for Films.
were
already
represented
Rofekamp from Films

national: Pie in the Sky:
Story,
212.614.7304
selections were considered by
than in 2000.
buyers
this
SUITES AND FULL SERVICE SOUND STUDIO
by
Shelly
by
Transit
The
Two
Jan
CJTYIM
212.477*3250
mm ng and editing
library of
J Pro Tools
*
ADR
Voiceover
: Huge
Mix
ound
effects
PI
2 inch 24 track/DA8!
DAT
Inter-
Brigit Berlin
Dunn Fremont and
636 Broadway
at
Bleecker Street
Vincent Fremont, which documents an
Andy Warhol
superstar,
and Southern
\l
,.,
2001
THE INDEPENDENT
19
;siMMiflU.:
Comfort, Kate Davis' sensitive portrait of
a trangendered couple
Rofekamp
also
and
wound up
their friends.
negotiating for
matter
Tom
wife's
on
REGAL GREEN HILLS 16

NASHVILLE, TENNESSEE
BY:
Maggio, even
there
no
is
sells
for
San
the
for
thief,
prompted
producer
John
partial
backing from Arte, presented

the most sophi
Berlinale
INDEPENDENTS
Five
Days
Over $10,000
Workshops
Vendor Expo
In
Cash
of course, parties!
Festival For Shorts
&
Qualifying
Animations
Qualifying
Run
provided by IFP
ic
was crucial
for
Trembling Before
indies
Berlinale.
This
ranged
from
to
attending
the
{Southern
fort)
to covering
expenses
travel
|(J
ish
Award
documentary on the
10
of
U.S.
capabilities."
Hedwig
Holocaust.
tors/producers.
>\,
mi
must
channel
FIRST AMENDMENT
and hosting
Such support and gate-keeping is
in a period of sharply increasing
CENTER
Special support provided
American Airline
the Teddy for the best feature film, with a

nod towards its "staging of an extraordinarily original and entertaining rock
opera." The intimate and persuasive docby
umentary The Optimists,
Jack
Comforty, on the rescue of Bulgarian Jews
received about 2,560 submissions for the
effective civil courage during a period of
the
EFM,
the
slots.
161
in
slots
the
Official
Panorama, Forum, and

sections
over
an
New German Film
increase of
last year.
Selection,
more than 10%
Market segmentations with
number
by the Academy of Motion

Picture Arts
& Sciences
forms
is
of distribution plat-
another factor necessitating
oppression.
American independents had a

and reception at this
year's Berlinale. Next year's festival will
be larger and more important. With sufficient advance work and good local repreOverall,
positive reaction to
expert advice. Prior exposure of a film in
sentation, U.S. indies should
other venues, such as Sundance, scoring
better.
even score
of awards, sales potential to television,
NIFF Box 24330
Nashville, TN 37202
[email protected]
ph. 615.742.2500
and the absolute need
THE INDEPENDENT
May 2001
for the
to take a very active role in
filmmaker
promoting
his
or her film are other essential ingredients

for success.
20
John Cameron Mitchell's

Angry Inch, was granted
arid the
from the Holocaust, was honored with a

special mention for its demonstration of
Excluding
by:
AA
documentary. Another
Berlinale
competition for limited screening
a growing
Workshops sponsored
while
film
AS CAP
!
tor the best
entry,
Bulgarian
JeW s from the
direc-
faith
received the well- deserved Teddy
bian,
Optimists-. An intimate
rescue
services.
the
being gay or les-
Jack Comforty's The
European
Market
and
keep
Orthodox Jew-
Com-
Dreammaker
SONY
BH
SESAC
It's
perspective.
G-D, by Sandy
Simcha
Du
Bowski, on how
U.S.
ary information, marketing,

HI
not jus! cable.
conceptual
and an aesthet-
In addition, there were the IFP's custom-
It's
and
equally
selected
"ft
ÎNTERMEDIA
world,
support
For
Award Winning Feature
e d
institu-
costs for the

NIFF Regal Cinemas
appealing from
The
Film
Academy Award
c a
B-52,
was
pro-
funding a print
Academy Award
the
the
Prizes
Music Showcases
And
150 Films
of
invaluable
tional
CELEBRATE YOUR
weapons system
jects.
CINEMAS'.
on
reflections
if
sale,
future
no
Panorama and Forum had 17

American films in their line-ups, equally
split between documentaries and features,
most of which played to critical acclaim.
To name but a few: Hartmut Bitumsky's
B-52, a U.S. -German co-production with
his
potential funders
the
film,
itself.
the
contact with
his
by
In addition to U.S. works in the market,
Virgil Bliss, a film
to
superb,
festival
from several buyers, including
According
Arte.
are
REGAL
and
teenage
career
inquiries
at
PRFSENTFD
festival,
how
for
Zuber's feature
was selected
lover,
Sebastian
film-
In the words of IFP
their productions.
market director Milton Tabott, no
Lansdown, about a lawyer's murder of
JUNE 6-10
market alone,
and B.Z. Goldberg, which picked up an

a few days earlier.
FILM FESTIVAL
at the
makers have to work to create a buzz
the rights to Promises by Justine Shapiro
audience award at the Rotterdam
NASHVILLE INDEPENDENT
were screened
Since more than 300 films
Claus Mueller [[email protected]] is a

New York-based writer who teaches media
analysis at
the
Hunter/CUNY and
annual
New
curates
York Screening Days.
duction, from script to rough-cut, with a
GOING DUTCH
director
and producer attached. About
four years ago, the
The Rotterdam Cinemart

and its Progeny
by Scott Castle
number of
projects at
the Cinemart was holding steady at 50 to
Since
55.
back
the
to
then,
have scaled
organizers
around 40
constructive,
the companies seeking projects, and the

every-
one's request while encouraging folks to

set
up casual meetings on
their
own
after
hours.
The Doelen was
maintain
in order to
informal atmosphere
match
organizers do their best to
selected in part for
its
high ceilings that add to the openness and
comfort of the crowded rooms and gives

the staggering
amount of
a place to go.
The
ticket counter,
an open-all-day buffet and
and served
bar,
first
an arena
as
val's nightly discussions
was
cigarette
smoke
housed the
floor
for the festi-
and interviews.
It
meeting place
also the event's central
where attendees from around the globe

attempted
communicate with one
to
The
another using their best English.
ond
erings
where participants from both
made new connections
of the table
sec-
Cinemart gath-
floor hosted the daily
sides
or fol-
lowed up on old ones while enjoying a buflunch or
fet
Throughout
glass of wine.
these daily events a casual calm kept par-
speaking
ticipants
work hard
"We have
freely.
to
to maintain this informality,"
admits Abrahm who floated though the

crowd every day making introductions.
Despite the fact that his new film The
that
The
first
thing visitors tend to
notice about Rotterdam
is
how much
is
Amsterdam. But what

meandering
streets it makes up for in innumerable
pieces of public art and startling, architectural achievements. From the Erasmus
Bridge, which emerges out of the waterdoesn't look like
this city lacks in picturesque,
way
like
a giant, organic harp,
to the
quartet of colossal lamps that dip and

like
rise
pneumatic wands outside the Pathe
Film Center, Rotterdam has built a modern landscape from the rubble of the
Second World War. Tops among the

artistic
treasures
Festival,
is
which
the Rotterdam Film
celebrated
anniversary by settling into

at
city's
its
30th
its
new home
de Doelen Conference Center, adja-
cent to the Westin Hotel, and conveniently across the street from the Pathe.
The
effects
of the festival are
Rotterdam each January, as

into the city.
But the
felt
visitors
in
pour
effects
of
Rotterdam's film market, the Cinemart,

are felt worldwide.
The Cinemart
five
festival
annual co-production market
new
fiction projects in
ranging from Taiwan to Tajikistan.
had almost 400
is
runs for
and the
open to
any phase of pro-
entries,
ly
believed
that
in,
so
we think
Cinemart
we
down
turn
very
are
"We
and we could have
selected at least 60 good projects
coordinator
we
real-
projects
good,"
says
Abrahm.
Ido
Chateau was having
Rotterdam,
home
relaxed and at
ly
come
as a
Peretz
felt
He'd previousto secure
feature, First Love Last
first
which he
tival. It
there.
Cinemart attendee
funding for his

Rites,
world premiere at
its
director Jessie
premiered at the
later
fes-
was due to these previous experi-
ences that he returned here to premiere
Meanwhile, in the past year the number of
The Chateau. "Rotterdam seems
industry attendees at the market rose from
lover's festival.
617 to 712. This increase helped necessi-
here and the people in general are really
tated the
move
to the larger, centrally-
supportive," he says. Peretz also notes that
who may not
distributors
Hilton that had housed the market for
your
many years.
The Doelen's
instead are helpful in
ground zero
third
serves
floor
Cinemart.
for the
where the main meeting room

Thirty-five tables
fill
there,
ground.
daily.
to
find
and proceed
half-hour
over again
the
people
common
bright
and
until 5 p.m.
occupants
The
it
market's orga-
nizers scheduled 6,000 meetings with par-
ticipants receiving their schedules

arrival.
list
The
but
recommending oth-
be better to approach.
McCleave came
Leslie
to
of Forensic Films, and one-third to one-
six
switch tables like a big square dance and

all
be interested in
dismissive,
the expansive room,
The meetings begin
Every
who might
Director
not
are
Cinemart with producer Scott Macaulay
trying
early at 10 a.m.
here
ers
project
located.
is
each with a number and two to

seated
It's
as
like a film
feel less self-conscious
located Doelen, rather than the nearby
begins
(Jan. 28-Feb. 1)
days during the
the market's key strength. This year
is
there were 42 projects from 27 countries,
upon
directors submit their request
of desired meetings to Cinemart as do
the
half of
Shamrocks
figures).
budget
to
her
McCleave had high
Cinemart
staffers,
incredibly nice
The
film
(depending on the
in place
final
praise tor the
"Everyone
here
is
they're like midwives to
your project." She especially appreciates

the ability to convey
ject in 10
minutes
phone and
David
more about her
ot face-to-face
tax over a period ot week-.
Gordon
Green
Cinemarl on the heels
\ti\
pro-
than via
AVI THE
ot his
arrived
at
widely sue-
INDEPENDENT
21
Q^l
2^
i^rrr.
cessful feature debut, George Washington.
11 Call for Entries
more
a far
"It's
me
than
interesting
environment to
just a marketplace,
not interested in
natures,"
he
says.
Cinemart
for
the
because I'm
handshakes and
sig-
Green was
the
just
time,
first
at
trying
secure financing for his second film.
to
He
has enjoyed having the legwork done for
FIL7W FESTIVAL
him, so he can concentrate on the meet-
"Some of them
are going to be great,
and some are going
to be a waste of your
ings.
time," says Green,
i.Stli
Anneal Film/Video Ftitiul
great one to
May
3rd-6th, 2001
Forms (Due 4/1/01)

c/o P.O. Box 13243
Hauppauge, NY 11788
1-800-762-4769 . (631) 853-4800
make
"but
takes
all it
this trip
work
The Johnny Appleseed

The Cinemart has
is
one
out."
Effect
numerous
inspired
other funding markets around the world.
The Pusan Market in Korea, the Film

Creators Forum in Tokyo, and the Forum
of
Documentary Film
dam
all
in nearby
mart, as did
San
Francisco's International
Film Financing Conference
and the Independent Feature

Border component of
ket,
among
IFFCON
(IFFCON)
Project's
No
September mar-
its
others.
director
nothing but praise
man
Amster-
got their inspiration from Cine-
took her
Wendy Braitman
for
first trip
there in 1991 as a
producer in search of funding
umentary The
has
Cinemart. Brait-
Celluloid
for the doc-
Closet,
because
they were having trouble fundraising

stateside.
The
visit
proved lucrative for
the film and inspiring for Braitman,
decided on the plane ride

a similar
22
THE INDEPENDENT
May 2001
home
who
to create
event in the U.S. for American
filmmakers.
"I'm eternally grateful for
their inspiration," she says. "They're really
the birth mother of
IFFCON."
IFFCON
debuted in 1993 and became

American market of this kind,
adapting itself to the local differences and
limitations of San Francisco (like utilizing
the
first
Cinemart after his first visit there.

"Having been to a lot of markets, I've
found that Cinemart has been the most
friendly and supportive in terms of helping
you meet people," he says. One of the
main aspects of that was having meetings
facilitated for you, rather than being on
'How can we
Ido and he was like
better
help you accomplish what you're looking

to do.7
'
They
"
note, however, that
it's
just
important for everyone to realize that
as
Rotterdam model could never be
the
exactly replicated in the U.S. because one
could never get the same level of international participation. Nonetheless, certain
lessons are universal. "We're learning from
our experience with the Cinemart that
an environment
creating
meetings
more structured one-on-ones,"
One
informal
for
almost as important as the
is
says Byrd.
recent addition to the Cinemart's

resources
practical
its
is
new web
[Cinemartonline.com], which
can access via password. The
site
site
invitees
all
contains
the industry manual and contact informa-
on
tion
participants. Future plans include
downloadable
and budget
viewable
scripts,
clips, stills,
but each project's repre-
info,
sentative would retain control over

is
allowed on the
reps,
more
a good platform to be
it's
what
"For the project
site.
visible
throughout the year," explains Abrahm,
"and
for the industry
way
rather discrete
it
can be a tool and a
to be updated
on the
The information
the producers deem
progress of the projects."
up
will stay
long as
as
necessary with email reports sent out to

recipients
corporate sponsorship, as
it
cannot
rely
on the comparatively higher amount of

government support Cinemart receives).
"I
think
learned from Cinemart that
attention to detail and a well-trained,

hospitable staff are really key," Braitman
explains.
it
"The beauty of Cinemart
has gotten bigger, but
still it
is
that
strives to
own
to set
them
ongoing relationship
is
maintained
up. Schiller
is
quick
to add, however, that the casual meetings
are
helpful
as
as
Lieberson agrees:
and wanted
to
the
structured
(head of the Film Council's
tants,
I've
ones.
"If you were in London

meet with Paul Trijbits
New Cinema
Fund), you have to go through his
assis-
submit the idea in writing, wait
months perhaps
retain the intimacy."
An
your
to get the meeting. Here,
seen people breeze up to him, set up a
between the Cinemart and its eldest

child, and each year a participant from
meeting, and see
IFFCON
"Every person we've wanted to meet,
is
selected to be their sponsored
attendant to Cinemart. This year's beneficiary
was director Greta
Schiller,
who
has attended Cinemart four times in the
him within
dom
one
which gives producers
free-
from struggling to fund projects with
Schiller's
producer, Sandy Lieberson,
it's
in
prevailing attitude of
hard work by
era of increasingly high-tech, yet distanc-
relationship
began
staff.
mode
ing
the IFE
tion to
Its
influence
is
ongoing. "All the
changes [the Cinemart] makes from year

to year are things that
back
to
the
we look
States
to possibly
and adapt,"
explains IFP executive director Michelle
Byrd.
markets for the better part of 30 years,
other," adds
and has nothing but praise
Stanfield.
the
Instead,
cooperation and thousands of hours of
Falleax expressed interest in working with
has been attending other festivals and
for
40%
compared with Cinemart's 40

projects and phenomenal success rate of
85%. The difference can perhaps be
attributed to Cinemart's continued commitment to keep the number of projects
down, but its success isn't just numeric.
annually,
value of face-to-face conversation in this
bring
entity.
allow 60
a success rate of
director Emil
No
1995 when then Cinemart
distributors,
and report
focused event that hasn't forgotten the
Likewise, the
become more
small and medium-sized sales agents and
IFFCON and No Borders
Both
projects
in
we've met."
has
fact that they invite
project's
Borders section of the
They've had the same experience.
Cinemart. The
and appreciates the
the
IFP Market was directly inspired by
says.
seven years. She notes that Cinemart

over the years
in
a dedicated and focused

Those lucky enough to have a project accepted to Cinemart have an opportunity to benefit from a structured,
he
last
efficient
a few hours,"
interested
progress.
"It's really
communication.
but
it
is
sums
up,
sat
this
An
invita-
an accomplishment
in
As Abrahm
so accurately
"Cinemart helps those who help
themselves."
Scott
Borders manager Colin
down
is
only the beginning of the
funding process.
about trying to help each
No
"We
itself,
of
Cinemart
Jostle
at
is
assistant editor
The Independent.
morning with
M.n 2001
THE INDEPENDENT
23
Pearls are the traditional gift given for a 30th anniversary,
and
celebration ot theirs, the Rotterdam Film Festival
in
gave audiences an opportunity to schuck through 502

10 days
films in
to search for hid-
den
treasures.
atten-
Festival
dance rose 25,000
to
345,000
were
this year, so clearly there
plenty of people looking. Here are
some World Premieres
that are
precious discoveries.
Bad Company
of
The winner
one of three Tiger Awards as
well as this year's Fipresci Prize.
Furumaya Tomoyuki's
first direc-
seven years
torial effort in
was
moving meditation on the constraining terrors of adolescence.
The
lyrical
tale
youngsters
of
coping with
school
instructor
who
sear-
ches
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new
for
ways
to humiliate
them was
reaction
the
direc-
own
tor's
GBOniiD
a
to
stringent
upbringing.
(Japan)
Battle
Royale
Fukasaku
near future.
Itfl
selected
by
It
tells
Kinji's latest
is
set
in
Japan's
the story of a junior high class that
taken
lottery,
weapons, and told that the
last
is
remote island, given
to
one alive gets
to leave.
Beat Kitano plays against type as the disillusioned but
determined teacher who brutally breaks the news to the

kids then kills a
few
The Chateau
of
them
to get the ball rolling. (Japan)
Jesse Peretz's follow-up to his debut
feature First Love, Last Rites
is
comedy
of
manners
about two brothers, one white, one black, who inherit a

French castle from a distant relative. High-jinks and cultural
misunderstandings ensue when the servants con-
spire to save their beloved chateau from sale. Brother
Paul Rudd's heartfelt but hopeless attempts at French are

hysterical: while trying to
compliment the object of his
affection's cooking, he musters, "Je t'aime potato."
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THE INDEPENDENT
May 2001
VA
child,
awakening the dormant
Years
later,
love
lighting bolt strikes a
reptile part of his brain.
the only thing that satiates our hero is the
electric guitar
he plays with cacophonous abandon. His
delicately balanced existence
24
(I
you, potato). (USA)
is
disrupted by Thunderbolt
Buddha, who sadistically goads him

ear-shattering
Ishii
showdown on the
into a hyper-kinetic,
Sogo shot this word-of-mouth favorite
white
in
an attempt to reduce
city's rooftops. Director

in
black and
sensual assault, then
its
instructed the projectionist to turn the screeching metal
with
85 years
saku
Kinji's
Battle Royale
was a
is
distributor,
and other
institutions
worldwide.
festival
.write that received considerable buzz.
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May
2001
THE INDEPENDENT
25
On
February
27,
The Independent gathered together the
producers of the upcoming public television series
Race to talk about the project and
how
it
Matters of
probe the
will
Around
roundtable were executive producer Orlando
the
Bagwell, senior producer Jacquie Jones, producers Felicia Lowe,
John Valadez, Camilla Haddad, associate producer Sindi

Gordon, and director of outreach Michelle Materre, all of the
The
series,
which
We've
in
done work in
all
will air in the first half of
2002, comprises
"One Drop Will Do" looks at the

America today and explores interracial
black/white paradigm in
mixed raced
identity, racial violence,
and the meaning
of race today. "Half and Half" looks at "hyphenated Americans"
and the image of America as melting pot or mosaic. "Power"

focuses on indigenous people in America and their status today.
"Identity" explores youth culture
historical
V(/hat
learned from that history that race
like to
it's
as well as national identity. After
day.
And being deeply affected by the
very clear statistics
on race
and
issues of criminal justice, poverty, opportunities in
educa-
tion,
At
'How do you do something about
asked myself,
that time,
and personal
as their centerpiece,
was working on a film about the criminal
many acknowledged
the
how
The
only into categories of black and white.
falls
was interested
how each producer is experiencing a

and how their own inspiration can set the tone for
meaning. So
We're
in
on the legacy of Blackside

Haddad all had
is
is
larg-
from the National Minority
of color. Jacquie,
what impact do you think
this
going to have on PBS's viewership?
Jacquie Jones:
We
really important.
previously worked. This
were true in terms of what
the throes of Black History month; we're inundated with pro-
series
discussion also touches
stories
Consortia was an opportunity to go there.
learning curve
The
Those
but they weren't really talking about the
this project idea
grams about people
Productions, for which Bagwell, Materre, and
that.
in,
discussion also reveals
a show.
Sam Pollard
by
looking at a story in Baltimore and trying to do
something around
er
timely nature of the series, the complexity of the issues, and
roundtable,
jus-
stories of
with John
among them.
this energetic
that?'
Race
tice system,
and authors
no longer
being involved in the
and thinking about the whole idea of

the construction of race and its origins during the colonial and
antebellum period, after working in history, you kinda want to do
something where people are living. Something that was present
confront Matters of
Edgar Wideman, Jane Lazarre, Ruben Martinez, and Eric Liu
race
We
a constant part of our
is
American experience. And it's constantly changing changing

us and having real influence on the particulars of personal iden-
and the values of the next gen-
eration. All four utilize the observations
During
documentary, in some
or another, talking about the history of race in America.
Roundup
leading writers
into your
fit
America?
Africans in America series
four hour- long programs.
conflicts,
Bagwell:
way
tity
Harlem-based Roja Productions.
America. Where does Matters of Race
in
dealings with the racial experience
racial,
economic, and social adventure unique to America.
cultural,
ducer with Africans
agree that there's the potential for something
For
us, part
of the effort
lies
in the fact that
in the diversity of the production
felt
we're including different kinds of people in the dialogue. There's
teams, in their predilection towards three-act story structure,
and in the intensive 'production school' with invited scholars

and writers. As it archives the tragedies and triumphs of people
of color in America, Matters of Race promises to be a challenging
growth experience
for its
producers and audiences
diversity within the shows,
teams.
What we
try to
do
is
and
it's
also within the [producing]
construct a group of people and an
environment where you're engaging in that dialogue
as part of
the process, and hoping that will be reflected in the product and
alike.
attract a different kind of viewer.
Sam
Pollard: Orlando,
what made you decide
We're also very committed to extending the reach of the

to tackle a series
as ambi-
tious as this?
Orlando Bagwell:
Consortia.
It's
It
started with
an
effort
by the National Minority
something they were talking about
the
shift in
series
beyond PBS. That has a lot to do with getting a different kind of

viewer. So we're working round the clock to figure out ways to
develop new partnerships with community groups. For instance,
Felicia's first
show
deals with Native Americans, so we'll be
how we as a nation are changing in a very fundamental way, and

how those changes are affecting our perception of what 'race'
working with community radio on the reservations and dealing
means. With that in mind, we
Coast or West Coast. John has been going out into the heart-
how
thinking about
race
still
felt
until
we
know your previous work
26
it
was
for the
there was something to say about that ques-
That was the driving
was going to be
1
to translate that discussion into television. Is
the pressing issue for the 21st century that
20th century?
tion.
Roja Productions just started
at
force.
got into
it
didn't realize
how
difficult
We
really didn't
lands and the South to look at

variety of Americans. He's just
John Valadez: Mostly
how
series to
when we have
seems to gravitate towards the

ronments. But right now, race
be East
these issues are affecting a
back from Wisconsin and Iowa.

a discussion about race,
coasts, towards the
(laughs)
May 2001
want the
it
with Eyes on the Prize and as executive pro-
THE INDEPENDENT
with rural populations.
is
it
urban envi-
being played out in very com-
plicated ways in small towns across the
Midwest and the South,

places that were either traditionally black or traditionally white,
or traditionally black and white, are
now
of a sudden Asian,
all
Black, white, Mexican, Guatemalan, Bosnian, Sudanese. We're
about, especially as
we look
at the broader
concept of race
more and more there comes the idea that it's also about
That's where there's a commonality in the race issue.
seeing this huge change in places that seemed not to change for
Camilla, you, Orlando, and
came from
model
that Blackside
so long.
rytelling,
Felicia,
what are you going
viewer about the issue of race

Felicia
Lowe:
and hopefully
to bring to the series

in
tell
the
in
that sto-
was reading these treatments,
how are you going
kept trying to find the three-acts, daughter]. So,
to
apply the Blackside approach to this series?
America?
have a very unusual show, about Native Hawaiian
and indigenous people
three-act structure model. As
class.
America. They, the
'First
Nation peo-
Camilla Haddad:
stories that
We're in the throes of figuring that out. These
we put
together are
all
com-
very challenging and
One
pelling.
thing about
the Blackside three -act
not
inventing
structure
that they
can be attributed with

it
flexible. It's
that
is
about
it is
telling
a good story, about getting
that
up
tree,
throwing stones
at
person
him, and getting him

down. That's a flexible
model
that
can
be
applied not just to historical
films,
but
pre-
sent-day films. So part of

the Blackside history
is
finding everybody's dra-
matic
arc.
John,
you
whole
come from
different
back-
ground, knowing you from
Passing
It
sort
this
On.
approach work
terms
How does
storytelling
of
for you,
in
what you're trying
of
to say?
John Valadez: First of
think
it's
exciting
to
pie,'
try
all,
enormously
and challenging
to
take a living
have often not been involved in the question of race. Yet
here they are, statistically speaking at the bottom of the barrel in
almost every way: educationally, poverty
is
higher for them,
there's a high presence in prison relative to their population.
people
I
who were
here
first
ended up
think that says loud and clear
It
doesn't
The
bottom of the barrel.

that there is an issue of race here.
at the
happen by coincidence that immigrants can come here
and somehow begin making

here end up losing.
The show
their way, yet the people
who were
I'm dealing with hopes to open up people's eyes to
live?
and weave
This
is
why
that
is
and
conversation worth talking
it
together with the experience, memoirs, and
reflections of important writers of our era.

ple challenge.
that fact, then to begin engaging in the idea of
where do these people
story
It's
And
that's the princi-
going to give the series a kind ot internal and
reflective quality that's going to be really nice.
But the bigger question
for
me
is,
graphic shifts that are taking place
Ma\
we know about huge democountry. White people
in ibis
AVI THE
INDEPENDENT
27
are beginning to be the minority in certain places
And
Bagwell: First
more different
shades and hues all over the place. But what does
that mean? That power is going to be more shared?
around the country.
Or
are people
going to
still
poverty? Does
mean
it
there are
kinds of opportunities for people, or does
people are
still
going to be living separate
is
that going to play out in America?
ly
an optimistic
Is it
^-v
r-^
mean
it
How
^-^
[laugh-
is.
ious kinds of
N S
first
we
thing
did
National Minority Consortia, used friends as a

resource, used things we'd seen
necessari-
We
vision?
think about whose
is
We did a broad call to varconstituencies. We worked with the
work we're excited about.
D U C T
Your proposal doesn't indicate where the fourth show goes. Could you
me
The
Jones:
more
lives?
ask people what their sign
not joking!
ValadeZ: He's
in the pockets of
fall
there are going to be
we
ter]
really cast a
and Camilla's
like John's film
film
were
tell
that could be an exciting part of

about that?
on
TV as a resource.
A lot of the stuff we were excited about
wide net.
it,
too.
and
really different,
lot of the
way we
we have was not intentional; it

who we'd like to participate in this dia-
arrived at the kind of diversity
So much of
Bagwell:
race as
it's
been
this series
about generations.
is
and constructed by
lived
about
a generation that
And
today challenging that construction.
It's
is
was more
logue.
future generations
Once we
Bagwell:
want
that
on
pret this idea of race
So we
felt
their
own
inter-
critical
The
that a part of the filmmaking.
was that we not
a production schedule that's very tight.
going to be
is
produced by three young filmmakers representing very different
Each
produce 15-20 minutes in
will
pieces that are connected.
Sindi [Gordon]
is
The
through
sifting
hour with
this
thing
difficult part
has writing assignments.
lines. It
show
last
were pretty rigorous about the schedules we're on; we've created
a lot of this right
searching;
is
now, looking
write
when
we
One
Jones:
How
saying?
we have
of the struggles
is,
what
are
do we represent something that
we
and
really
of, say,
come
and finding
to understand
stories that
How
ValadeZ:
a hospital than
what our own perspectives
can resonate
and
lives
twined in complex and surprising ways.

race,
class
sometimes we're talking about culture. Or
speaking different languages sometimes
much
about these things. So
from culture?
talk
class.
when we
about
We're
all
to talk
try
of the time, we're just missing each
And
process comes
realize
that's
in.
we have
We
if
camera. That doesn't
this
and
among
wrestle with this
mean
of what
about
It's
we
over.
and we
are seeing
But
all
between
of those things;
for us, part of the
We're becoming very sharp
when
and writers are helping us do
after
We
take
meetings.
It's
down
sit
some of
on indi-
a strange kind of
work,
sit
down, get drunk, and
and
exactly that.
When we
where the
really challenge
scholars
they did
have written outlines and a sense of
films are going,
we send them
And
our thinking.
we
bring in key people
contribute to that discussion or challenge us.

outlines,
talk
to talk to us
We
who can
either
send them the
reading that's having an influence
where our thinking's coming from. Over the course of two
on
days,
they do presentations and then take questions. But usually, the
how
last session
we're out
on the road
stories.
Our
dynamic that mirrors that
in
the wider world and
in
teams creates
your content. You're
also bringing in scholars to stir up the waters. Can you talk about
how
you create the diversity and make the most of these internal challenges?
THE INDEPENDENT
May
2001
a pretty lively session.
we were
We
were challenged
thinking.
For instance?
works with
our
first
speaker was Sara Lawrence -Lightfoot. She
this idea of
memoir. All of her books are written
around personal experiences with complicated or abstract ideas

around
race, hope, power, class
things like that.
She got
to talk
how the particulars in our lives can speak large, representing many people, many experiences. It allows us then to be
in other people's stories and think, 'What would I do? What do
to us about
that.
the diversity of your production
was
to consider a lot of things
You've mentioned
28
that.
Then we
Well,
Bagwell: Well,
there's a clear distinction
and when we are working, shooting, constructing

scholars
it.
we're going to represent this in front of a
working each other
critical
ourselves,
even with the whole notion of lan-
to be very clear about that.
is
things.
we don't get drunk [laughter] we drink.

Then we had a production school where we invited
about
whole idea of the production
race and culture, or race and class.
process
few stages of
we have group
two weeks, we go out
This
where
to wrestle
guage and meaning
we have
questions are not coming from us; they're coming from them!
other's cues.
Bagwell:
We
group we have, cause we even go out together, you know. Every
are in that,
are completely inter-
When we
we go through
and debate about those
to larger experiences.
do you untangle race from
They're such potent forces in our
To
start
films they're begin-
the issues that are part of those outlines and discussions
in a school or a family?
it is
talk
vidual teams, and
but always real? Something that's completely different in the
context
So then we
a vision.
documents that helps us see the
ultimately
always shifting,
is
come with
hire producers, they
working together and imagining the film they want to make.

ning to see. So
to face?
the teams through a
We
for filmmakers.
What's the biggest challenge everyone thinks they're going
has very clear dead-
treatments and ideas for the films up front, but realize that
create these
around the country
It
We move
deadline, where they have to produce outlines.
first
perspectives.
constructed teams, there are approaches to the
filmmaking that come from a system that we've seen work. So we
terms.
one of the things that was
about generational differences in the shows, but we
just talk
made
and change even more, or
to take these lessons
a function of
think about that?' That was very good.
And we had Mari
Matsuda, a law professor
at
Georgetown,
and she basically blasted us away, [laughs] Our thinking

about race had to be much more critical. It's one thing to think
about the particulars. But you cannot forget about the commu-
come
in
and seeing
nity
it
on
and the glaring
a larger scale,
When you start
in our society.
of wealth, opportunities, criminal justice, you see
we have
All these things
al.
reality of race
looking at the differences in terms
aware
to be
this idea of the particular.
The
Jones:
other thing that's really important about getting
scholars' feedback
It's
too
big,
that
is
too important, too
going to be a lot of critics.
what those
ing
we
can't represent every perspective.
many
We know
And
perspectives.
that.
We
have to
we can respond
criticisms are, so
of the things that's really helpful
them
to
National
Haddad: Yes, with

is
you a
NEH
critique.
Our
projects, one's interaction with scholars
mail.
They can be very
process
is
when
polite
very different. There's
giving
more of an
engagement. There's face-to-face meetings with people you pur-
who
posefully invite
Orlando was saying

it's
about.'
It's
out there.
Bagwell:
all
different process
is
in.
like a
booby
trap.
There's
film.
we have
much
staff
If
and others
We
can't
our
own
much more
all
mean on
representing
is
And
did 50 years ago.
And
a cultural level
don't
the level
of language, the ideas and images that go through our heads, the
we wear. We're becoming a society that is

So there's this huge change that's taking place. And
a lot of it is coming from the Third World, which didn't happen
in the last great immigration at the end of the 19th century.
People from Latin America and Asia in particular have a huge
impact on this country and how we think about ourselves. What
does that mean? Are we entering a Utopian era? Or do racial
clothes
that
fault lines
still
fall,
but in different configurations?
agenda would be that I'm
concerned about
really
program four
Gordon: Talking about agenda,
When
to a point.
guess
my
that.
a platform for
is
kind of a strange thing, because
It's
now
is
about popular culture and
but only
looking for the young filmmakers,
went
to
schools and festivals, but also to health and educational projects.
What was amazing
to
me was
started hearing views
and opin-
ate with
young people. There's
a dialogue that
is
constantly
be to give voice to young people and not infringe on that. To

allow
to really think about
a certain choice,
make
it
we
why
certain
will
have to
Bagwell:
when we had our
all
sat
many
that's got to
be
own
all
We
to speak honestly. That's what's so exciting.
want
to
produce television
We
want
this to
also a kind of national event.

first
We
that's
sider these issues,
and
start
going to get people
be not just for television, but
want people
big
around the table and
at the school. In
them
to ask questions.
thinking about
how
to begin to con-
they can partic-
ipate in not only the discussion, but ask themselves
ways,
it
they
fit
in all this?
A big part of what we're doing
reach effort to get the conversation going.

experiences,
on the
table.
know each other, trust each other. It's not just some
session; we are around the table grappling with diffi-
PBS
is
is
where do
major out-
committed
to
broadcasting the series once a week over a month. During that
month, we can begin
to create a discussion.
Michelle, do you want to
tell
Michelle Materre:
remember one conversation we had about Clarence

Thomas during the production school; why do people feel the
way they feel about him? You realize that so much of what you
implicitly put on that is ideas about authenticity and ideas about
who can speak for black people, or ideas about what a black
agenda is. Even though you're critically dissecting these ideas,
I
still
a part of
you that clings to
the only one you have.

ing that out?
ed
on
a biological level, but
cult issues.
there's
we
to
sensitivity
Jones:
racially that
co-mingled in so many ways.
we have
to this discussion carrying our
history of race.
We've got
just
suspect that in
for that film. That's the begin-
We
after that school.
come
all
same way
ourselves in the
We're
because of technology and immigration, we can't define
ions that were just unheard. Concerns that people don't associ-
these things.
was a time when we began to reveal ourselves, acknowledging
we
kinda have a couple of agendas. One,
this age,
going on in this generation's heads. So one strong agenda would
aren't going to
began to process what occurred

that
Valadez:
hidden, [laughter]
youth culture. So you hear the voices of young people
so you can't
lists,
a filmmaker
of the interesting things was
meeting
It's
within our society, the climate

better.
be ready to have that discussion.
One
JoneS:
put yourself
really
think that
talk with a filmmak-
why we're making
things are in
all
when you
made
ning of the larger discussion.
what
Because there's no way
to consider
to learn
er about the choices they
those things
you
Something's not going to be there.
everyone. But
all
voices that are not heard.
end up being
painful, but the films
Another important part of being

your
if
at us! That's
the different issues. They're not
put everything
satisfy
much
Filmmaking
to handle
Come
them, 'Come on!
things.
have an agenda for this series?
Do you
are encouraged to challenge us. In fact,
to
can be
It
on these
positions
a better film.
hybridized.
it.
for the Humanities?
phone or
often by
talk
from that on projects funded through the
of scholars differ
Endowment
either
hearing other people
about these issues, you get a sense of where you are in

Does your use
there are
start hear-
respond afterwards. That's one
in the film or just be prepared to
makes
institution-
it's
and marry them with
of,
own
interrogate your
What
then what
are
it
What
you say
we
if
you
that's
this identity,
start to think
because
it's
about throw-
meaningless and construct-
replacing that with? We're coming not
ty.
ly
We
see the
main work of this
is
series
a very integral part

it
as a separate enti-
happening between week-
We hoping during that time to get local radio and

programming that coincides with the national broadso people are able to create programming that's specific to
communities. That'll be the way to roach people on the
broadcasts.
television
cast,
their
local level
more
specifically.
There's also an educational component, which
will
target
junior high and high school, as well as college students and their
teachers.
We
are creating timed
the classroom.
graphical, so in discussions with each other,
segments that
really begin to
The outreach component
of Matters of Race. We're not thinking about
only from diverse racial perspectives, but generational and geo-
you
us about the outreach?
The hours
will
will
modules that
will
be useful in
be broken into JO or JO minute
be designed specifically
\ln
\Y1
tor the
classrooms.
THE INDEPENDENT
29
And
be partnering with other organizations that have
we'll
been doing
kind of work, such as the Television Race
this
based in San Francisco. They have
Initiative,
tions that they
work with very
programs that deal with
select
closely
around
five partner sta-
They
issues of race.
and work with those
this topic
beyond
Initiative
with them again
We
their five stations.
is
worked with them on

to work
and one of the reasons we're excited
Africans in America,
They
they invest a lot in community forums.
allow the producers to really engage with an audience. We've
been talking a
about these teams, and
lot
[production] process
When we
in that.
stations
kinds oi
had
just
done 20 screenings
Benin
in
What about the web
One
for slavery.
American. Those kinds
Can
be a breakthrough for PBS? Can
this series
how
important
in
people generally don't

ing about
what we
All these things
why even
be screwed, so
but
in various
The
choice.
all
Lowe:
It's
but
true,
it's
it'll
of the things we're doing

this series. Part
of the
is
pre-
Indian.' We're
doc-
right,
site is set-
will
have done a good
gramming
be designed specifically for the web.
community
the
forums, only this will be a virtual space, where people can cross
geographic divides, as well as cultural divides.
We're also compiling some of our resources into a search-
able archive. In the course of our research, we're developing an
extensive archive around
a searchable database.
have
is
kinds of issues
health
care, edu-
We
to set
Valadez:
We
much
with
We're working with the
NPR and
is
involved with specific communities. We're working

other national radio forums to bring these groups
together on radio. So, potentially, an
NPR
audience can be in
touch with Native American radio.

Orlando, you have a reputation for a very unique visual style
What's going
Bagwell:
to
We're
When you walk

tell
us
what the
in the trenches,
about race. In the
your films.
working that out right now.
grammar
is
will be.
not verite.
film, the idea of
But
We
complexity of that.
THE INDEPENDENT
myth and
Our imagery
May 2001
this will
be very con-
are constructing stories
important part of what we're doing, and so
30
get along with
if I
can help
being to
tell
human
a story so you
being, then
the best
is
we can
do.
to
and you're not going to like what they say, no matter

how you cut it! You have to accept that people are going to have
different viewpoints
ones.
And you
JoneS:
Then you
PBS,
think
and they're not necessarily going
have to deal with

up and
shrivel
got to help
its
If
to be cozy
you don't ....
die. [laughter]
back to your question of whether we can change
we have
it
it.
For public television to survive, we've
to.
imagine a
schedule,
new audience and
it
new documentary
much too long.
has stayed the same for
That form dominates that you
see.
The documentary form was
resurrected by PBS, but then in a funny kind of way
allowed to die again. I've heard filmmakers
say,
it
was almost
'PBS has ruined
American documentary filmmaking.' Whereas 20 years ago,

they'd say it saved American documentary filmmaking. As producers of documentary and people who believe in the idea of
PBS and what it was supposed to do, we have a kind of responsibility to push it to move. Then it's their choice; they either
keep you or
let
you
go.
But
if
you're a progressive thinker, you've
got to be in that arena, pushing things.
into a series like this, you try to allow the film to

visual
scious filmmaking. This
that, the
in
be the visual approach, the unifying thing, for this series?

still
one-on-one,
not
your story
to tell
is
But sometimes when people are honest, they're going
has to
Minority Consortia specifically to work with local radio that

very
there's
job.
advertising.
also see radio as a safe space.
and
story?' 'You're
say things
form. Like
Bagwell:
agenda
Haddad: To give truth and give voice
Bagwell: Getting
feel really strongly that this site
beyond
So
human
understand,
up
So one of the things we

make more information available to more people.
a functionality
can do
all
So we're working with the designer now
cation, welfare.
scared,
my
being another safe space where people

like
My
and
these institutions walk in and start defin-
ing things that problems set in.
we're going to
Jones:
no
forward. There's
team here of people who
telling
when
it's
start to
can dialogue about issues of race. Just
'Who's
When am
from the heart.
anybody. But
can
We
terribly frightening,
It's
are challenged,
all facilitators.
how we arrive at these treatments, at who

shoot and how we're going to shoot. Some pro-
will
say anything?
also true there's a
who
ple into the process:
really see this site
know what we
and we know we can only
out,
Asian
probably start this summer, to bring peo-
It'll
come
or we're going to
to
die.
of the groups was
We're doing production on that right now, and
One
talk-
other way, you're just going to shrink, shrivel, and
site you're creating?
umenting the process of making
wrong way,
the
way you can move
the only
that's
it
and then they're going
really feel
really fantastic
show on the Apology
stylistic
you avoid
like to talk about. In fact,
or they're going to interpret
are kinda fearless,
aside for webcasts.
look or have
its
because someone's going to punch you in the face,
it,
the
of outlets are important.
miere before the broadcast.
change
it
huge potential to not only break
always politics around

Materre:
new and
ground, but also figure out a discussion about race, something
really think.
one month
a
Valadez: There's
say
were in San Francisco recently, one of their
community groups, dealing with
Conference
it's
communicated. They're
is
allows us a lot of space for
It
documentary form.
fresh approaches to the
very active partners.
all
We're trying to broaden the base of the Television Race
Jones:
appropriate. We're playing with this idea of multi-
it's
a major impact?
given money, and they're
all
They've
this, as well.
they feel
ple-layered storytelling.
The
tions to develop outreach plans for those communities.
Minority Consortia are very involved with
sta-
somehow. At the same time, we have to make sure the audience

there with us from the beginning and never feels lost in that;
is
is
reality
how we
is
a very
represent
has to capture that
and co-producer of Spike Lee's Academy AwardHe was co-executive producer for I'll Make Me
a World, the last Blackside series for which Henry Hampton was executive
producer, and acted as producer on two episodes of Eyes on the Prize II.
His production company, Two Dollars and a Dream, Inc., has begun production on The History of the Apollo Theatre, a documentary for HBO.
Sam
Pollard
was
editor
nominated 4 Little
Girls.
CENSUS & SENSIBILITY

CPB's
Diversity
Pacific Islanders in
"open
calls"
independent producers throughout the
to
mission included "the develop-
erative efforts can ensure high-quality vehicles with opportuni-
ment of programming
Bob Connelly
its
that addresses the needs of unserved
and underserved audiences," particularly minorities. In 1999,

the CPB Board of Directors refreshed that mission by establishing a funding initiative christened,
"I,
Am America" aimed
Too,
Census,
tion," says
if it
comes
Head, "either with a station or with ITVS or any one
of the Minority Consortia. Those are the other projects and/or
on funding diversity-themed and
underserved audiences."
ethnic
television series or specials that offer high visibility
among
diversity
California's
has
residents
Fund prospects of
Diversity
particular appeal are limited
such
increased to the point where whites no longer constitute the
cant source material for the outreach services
majority of that state's population. By 2050, claims the Census,
research, promotion, education, talent development,
90 percent of the country's projected 131 million increase in
line presence.
idents will occur in minority communities.
Am America"
to sustain
initiative represents
res-
"I,
Too,
The
first,
and an on-
project to receive funding was the series
CPB's attempt both
be targeted to "a public television general audience and for
Am America" Initiative umbrella
are three funding opportunities.
first
signifi-
audience
Matters of Race. See story pg. 26-30.] Television programs should
est to the country's evolving minority populations.
Included within the
[The
and
as
creation of the
The
current audience and to promote projects of inter-
its
is
in with a collabora-
initiative reflects
government statistics of America's

changing demographics. According to the U.S. Bureau of
CPB's
educational and outreach services. "A project
ties for related
going to have more impact for us
services that are really focused
producers and viewership.
at diversifying its
Too,
year.
the Corporation for Public Broadcasting was
founded over 30 years ago,
"I,
Inc.;
Communication). Both ITVS and the

Minority Consortia, which fund television programming, extend
and
PO.V, by design an acquisition outlet, will consider entering the

development arena in the near future, says the series' executive
director, Cara Mertes. According to CPB's thinking, such coop-
by
When
Fund
Consortium; Native American Public Telecommunications,
"New
Voices,
New
on the PBS National

Program Service (NPS)." One-off projects are eligible for fundnational primetime broadcast primarily
ing,
how
but producers must offer convincing explanations as to
a single program can
meet the
Initiative's goals.
"The subject
matter has to be so riveting, so new, or their treatment of
it
so
wonderful," explains Head, "or they've got some other collabo-
Through
its
new
Diversity
Fund Program,
CPB
has
rations,
maybe some community partners
that allow this program
to get lots of buzz."
allocated $5.6 million for television projects designed to
Collaboration also helps stretch the Diversity Fund's
"develop inclusive, thoughtful content that builds
dollar,
number of fund recipients. "We're not going

project," Head maintains; in fact, the fund's dis-
allowing for a larger
understanding of America's growing diversity."
to fully fund a
tributors look for a high percentage of secured funds or in-kind
Media," supports diverse perspectives presented through
digital
earmarked
services already
for a project. Initial requests
ranged
and web-based platforms. Second, the "Breakthrough Fund,"

on public television system-based activities to expand
from $50,000 to $2 million, but, says Head, even the lower-end
focuses
of that scale exceeds the
inclusion.
prospective recipients.
The
third
component
producers. This
is
will
be of most interest to independent
the "Diversity Fund," CPB's "open invitation"
to stations, organizations,
and individuals
to submit proposals for
television projects. Important, too,
is the tangibility of such programming, which should translate into community outreach programs and services designed to support those audiences. "Our
By the time
of
amount CPB would
like to
extend to
deadline for FY01 applications in

Fund had received proposals from about
will continue to accept applications on a
its
initial
January, the Diversity
25 producers.
CPB
rolling
until
basis
this
grant
year's
pool
is
exhausted.
Applications must include a three-page treatment describing the
production
style
and creative approach of the
project, a
one-
goal with the Diversity Fund," says Project
page summary of the education, promotion, outreach, and on-
Cheryl Head,
line
"is
project's subject
For
to interest audiences
matter beyond the broadcast."
FY 2001, CPB has
funding grants which
Fund Program
sive,
Development Officer
and extend the life of the
will
allocated $5.6 million in targeted
be distributed through the Diversity
for television projects
designed to "develop inclu-
thoughtful content that builds understanding of America's
growing
diversity."
Though
available to individuals,
CPB
sug-
components that
accompany the program, and
one-
page summary of the project team's expertise. Applicants
who
will
pass the first-tier screening process will be contacted
within 45 days
and requested
mission directives
PO.V,
or
Latino
Public
Broadcasting;
Telecommunications Association;
An
online booklet detailing the
application guidelines and a complete application form with sub-
may be
Bob Connelly
accessed.
teaches documentary theory
American
National Black Programming
National
will
For more information on the Diversity Fund, log onto the
Independent Television Service (ITVS), the PBS
series
to submit second-tier full pro-
be notified of the status of their proposal.
CPB's website [www.cpb.org].
the National Minority Consortia (which includes five entities:
usually
complete line-item budget. All applicants
posals, including a
independent producers consider collaborating with

one of CPB's existing public broadcasting partners, such as the
gests that
Asian
\ln
2001
and
history at
American
University in \\'as/iin,s;rcm,
THE INDEPENDENT
'.
31
Frances Negron-Muntaner
by
m ito
mm
jiiuv
Dear independent producer:

Have you ever thought
of applying
Independent
the
to
Television Service (ITVS) but feared that your beloved project
would get manhandled by an anonymous bureaucrat who would
Or have you
also take pleasure in humiliating you?
or
more
are sorry to say that your project

ately felt a soulful
ITVS and
less
was not selected" and immedi-
connection to PBS-hater Jesse Helms?
haps you simply don't
funds
received one
with the painful second sentence that reads "we
letters
know anyone who
Or per-
has been supported by
ITVS
are profoundly discouraged by the fact that
than
5% of the proposals
not to say scary

guidelines. If
receives,
statistic plastered in all
you ever had any of these
ITVS,
ings about
it
this letter
is
an intimidating
of the organization's
(or other) negative feel-
intended to be sung along with
Gloria Gaynor's classic disco hit
"I
Will Survive." Trust me,
The Review Process
If
have.
I
An ITVS panel digging
ITVS funding
received
Portrait of
in
1993
for
Brincando
el
cliarco:
a Puerto Rican, an internationally acclaimed one -hour
experimental narrative that
is
thought of
largely
as a
meaningful
you already think that the ITVS peer panel review process
ITVS
resembles the reality show Survivor, you are right.

country's demographics into account in selecting
also factors in the several constituencies that
its
takes the
panelists. It
make demands on
contribution to Puerto Rican/Latino/queer filmmaking and an
the public broadcasting system, namely ethnic groups, sexual
ITVS
minorities, geographic regions,
fated
flop. I also had the misfortune of participating in the illITVS-funded series The Question of Equality and painfully
contributed a segment that seems to have been edited by Edward
Scissorhands for a second
down
by
ITVS
My
on
twice
the institution's
full
series.
As
of
a project that
late,
have been turned
thought was deserving of
is
not, however,
my
qualification in addressing you. For the last
only
two
or
years,
main
I
have
been an ITVS reader and panelist and have been able to observe
up close how ITVS makes its funding decisions. Although initially
thought that the invitation to become a panelist was a
form of co-optation
power and
bring
in the critic so she gets a sense of
forgets past grievances
have now come
ate ITVS's invitation as a generous investment in
my
to apprecicareer.
Participating in the decision-making process has not only
demystified the
But
grants.
who wish ITVS
wouldn't
it
and filmmaking communities in
also
exist,
never forgets the Congressmen
ITVS funding procedures and allowed me
wit-
and the broad gamut of "viewers
"We
recent meeting:
stripes are only
serve
many
As the verbally inciWickham put it during a
masters."
And
producers of
one of them, something that we often
Good
tribes.
people following
stake
is
fairly
looks aside, the panelists are pretty smart
very seriously. In the
based
arts
advocate
last
panel session
who was
help but convey his admiration:
how
NEA
sat in,
an ITVS D.C.-
observing the process could not

"I
am
panels operated a
very impressed.
number
wit-
years ago,
and
fundraising
it has
also helped me to improve key
and better understand ITVS' mission as an
organization. This knowledge has even emboldened me to the
of 30 hours thinking about each application and
may
apply again, something
The Independent asked me
ITVS panel room with you

are brave)
to share
swore
would never do
When, a few months ago,

my experience inside the
with ITVS'
blessing (indeed they
accepted the assignment with missionary
hoping that by writing

avoid getting the
other,
this letter, at least
zeal,
some producers could
dreaded one, and take another look at
is
the
extremely thorough." Indeed. Panelists spend an average
unique in
its
painstaking process.
THE INDEPENDENT
May 2001
it
ITVS
is
goes something like
this.
ITVS
offices on
San Francisco
Kafkaesque location was pur-
After grabbing continental breakfast at the
the impossible-to-find block of Federal Street in
some people would think that

posefully chosen
sent,
and
is
this
the meeting begins by introductions
guided by Claire Aguilar,

of programming.
gramming and executive team

32
And
merits.
its
Unlike most state council and foundation panels, the
staff as director
ITVS.
at
be revealed and documented, and people take their jury duty
James Yee's tenure,
money
transparent criteria and the
not going into their pockets. All conflicts of interest must
this
after consecutive years of rejection.
all
forget.
Luckily there are important differences between the Survivor
and panel
ness first-hand ITVS' professionalization under former director
point that
take
like you."
nessed
skills
who
the political groups
offense at homosex, the largely indifferent tax payers of America,
sive director of production Patrick
support.
extravagant resume
recommending
at
who
of
all
pre-
recently joined the
The composition of the proITVS is fairly diverse, includ-
in.
ing Anglos, Asians, and Latinos.
writing about the
but there
by word.
someone
is
I
ITVS
don't
know
if it's
because
am
decision-making process for publication,
transcribing the entire set of sessions,
word
later learned that transcripts are created to be avail-
make
Aguilar reads them aloud again to
same thing when we
ing about the
sure that
refer to
we
are think-
open-ended cate-
such as "underserved audiences," "innovative," and
gories
"diverse."
able to panelists during the review process, and, in addition,
when ITVS
provides feedback to producers about their applica-
tions, passages pertaining to their projects
them over the phone. The general ground rule for my spying is
I can only mention the staff by name. All panelists and
other observers will remain anonymous.
that
Prior to this
DV Initiative panel meeting,
country helped
Open
ITVS narrow down 260
Call panel
in
February,
there
19 readers across the
proposals to 18. (For the
were 490 applications
reviewed by 45 readers, which were winnowed
down
to
32
final-
Having also participated as a reader, I can say that the main

difference between this and the panel phase is that the staff has
ists.)
a greater role in establishing this preliminary group.

ers
who make
it
to the
Number Crunching
can be read back to
The produc-
The
panel discusses the scores from the lowest to the highest.
After evaluating each project, one by one, from the bottom up,
people's scores tend to
there
in. If
change
as alternative perspectives
weigh
consensus about the lowest scores, these projects
is
are generally eliminated
and
second round of scoring follows.
Before taking this drastic step, panelists often request to see sam-
accompany the lower ranked
ples that
projects since these
may
On
rare
have interesting ideas but not well-written treatments.
occasions, people respond differently to a sample, but generally,
the weakest samples correspond to the weakest proposals.
Once
second batch are asked to submit a sec-
the lowest ranked proposals are eliminated, panelists
ond and more extensive application along with sample tapes,

and this is when panelists come together.
The main and obligatory goal of the panel meeting, an
almost 10-hour marathon, is to debate and then modify scores
that each panelist had sent into ITVS before the meeting. To
start, the panelists examine the ratings sheet prepared by the
staff. The lowest rating is 1 and the highest is 5. Depending if you
engage in approximately 15 hours of discussion. These seven
have a nice or mean panel, there
which you describe the
The fundamental
discussion,
The
will
be a
lot of 0s or a lot of 5s.
criteria that serve as the basis for evaluation,
and funding consideration
are as follows:
ceived and appropriate approach to the material, making
it
accessible
als,
structure,
and
visu-
Does the proposal address a target audience? Will the program

serve the needs and interests of an under-represented audience? Will the program appeal to the national broadcast audi-
The
muddy
very likely pick up
on each propos-
budget omissions, or
ideas,
legally
risky propositions. If
your project needs extensive music rights
and you do not have
elists will raise
music budget item,
for
example, the pan-
questions about your experience.
If you
have
list
of questions and half-baked research instead of a treatment in

visual style
and
structure, the panelists
conclude that you are not ready
will likely
DV
for people
found
consult
lawyers and this oversight
its
for production. If
camera and you have not obtained
in unflattering situations,
may
ITVS
you
releases
will definitely
cost you the funds.
Towards the end of the first day, panelists re-score once more.
These new numbers are revisited on the second (and last) day,
which panelists, after another round of discussion, will proceed to rank projects from "1" onward, "1" being the highest
score.
Each
panelists'
new ranking is then added to create an

The re-ranking will again be eval-
average score for each project.
uated and debated, allowing panelists to persuade others of proproducer's ability to successfully complete the program
on budget and on schedule, given the experience of the producer and proposed production team
The extent to which the producer has demonstrated credible
access/rapport with the proposed subjects and stories
How does this project fulfill ITVS mission and programming
In addressing these questions
encouraged
jects
to think
and concerns, the
panelists are
about the quality of the project and not
funding the producer
is
how
requesting, in an effort to concen-
excluded from the top 5-10. The key issue facing the panel
at this point
many
is
the cutoff point for funding. In other words,
projects will receive funding,
alternates
in
ranked
the
projects
not
accept
funds.
decision
is
limited
by
This
partly
the
amount of money
ria
available for fund-
ir
-i.
how
become
You would be amazed

at how many people
do not have a critical
eye when it comes to
their own work.
-&
*f
\\n^
-.--,,..
will
case
trate
on the substance and not the mechanics. As if these criteweren't hammered enough in the evaluation form, Claire
and how many
one of the higher

does
goals?
much
staff, will
inconsistencies,
in
style
ence:
al's
are using a mini
quality of the project idea as demonstrated by a well-con-
and compelling programming

The extent to which the treatment clearly describes the
ITVS
people, plus
\i
^2KPHASE2APPIICATio M
Cr\r->*
i-
V.
A
i
THE
N D
E>
ENDE
ing the projects of the particular
call,
but there
one or two additional projects
to include
if
window
a small
is
these received very
strong panel recommendations.
not
While ITVS
the panelists
staff
when
twice
balancing force,
calling
them
emerging or established,
is
recting misconceptions about a project,

fully
articulate
The
up!
staff acts as a
providing additional information such
whether the maker
their
as
clarifying or cor-
and pushing
particularly
positions,
round
is
fall
panelists to
when
panelists
first
time
saw the proposals
ments are more

don't. Yet,
realized that
if
there are folks
repeat funding from ITVS,
pile,
who
it
make
likely to
it
are
like this"
and
table, the
images bring
more
likely to
am
"I
hear comments
Hence,
just sad."
home
if
When
maxim
to
money from ITVS
get
know
or any other
ITVS has funded. Talk to

who have been funded by ITVS. Call Richard
mission and priorities; find out what
other producers
get
Saiz or Claire Aguilar
ITVS
at
is
that not
are
(they're
him
or her, particularly
anyone
else as
what
for
when
for
and
ful
came back,
can say that the
most other hinders, ITVS
when he
performs a service to the applicant, even
or she
is
not
funded.
The
agenda
only
is
moment
in
which the
staff's
voice adopts a specific
towards the end of the second day
ming team
when
the program-
directly asks the panelists, particularly those
who
are
programmers, whether a particular show with esoteric subject

matter or approach favored by the panel
will play well in their
respective markets. This type of concern
is
understandable for
ITVS, although since the panel's recommendations tend to be

followed, the carriage criteria
experimental work
still
gets
the panel, although "content
is
not determinant. Very focused
an engaged round of discussion by

is
(still)
queen."
because you have
hate to admit
jects eventually
it
don't have to bother.
tend to
rise to
up.
34
The
best pro-
the top and the disciplined pro-
who come back have a better chance than those who give
So, how can we explain a rejection when producers feel their
ducers
THE INDEPENDENT
May 2001
right
The
Ponts,
also
ap-
very success-
that
just
Emmys, Oscars, and Pea-bodys, you
Remember
that what's under scrutiny

fact,
some
is
not
panelists will
means
apply higher standards to experienced producers, which
young producer will actually fare better than one from a star. The first time I saw the proposals of several internationally respected producers go to the bottom of the
that a fair proposal from a
pile,
realized that
from ITVS,
it
is
if
there are folks
who
get repeated funding
because their proposals continue to be com-
pelling to panelists.
THE WRITTEN WORD.

many
Your project's concept
will
times before any pair of eyes will view your sample.
underestimate
this part of the process. If
be read
Do not
you can't write com-
can make good movies, hire or collaborate with

someone who can help you articulate your ideas. This process
will not only result in a better and more confident proposal, it
pellingly but
help you to not
ject. Also, if
but, the system generally works.
Du
your career but your specific project. In
will also
Tipping the Scores

I
the
to
is
producers. Don't
assume
experience participating in two
in contrast to
that
homework
feedback process can greatly improve a proposal and sample

tape. In this sense,
you
out,
your project.
plies to
a tool
panels in which several projects
this
you can
imperative to do your
more than
my
if
this
source
the staff to share the discussion
with the applicant. From
for
others a lot of agony
In the
and provides
projects
all
suited
by applying
forces the panel to be
it
as fair as possible
for
may save yourself and
end, the grueling discussions that take

place benefit the applicant
me
kill
Understand
this).
sympathies are with the applicant, not

against
me
Review the ITVS
thy audience.
staff's
faced with pit-bull panelists.
brings
island:
figure
the
to
booted from the
source and
may assume,
it is
wanted
words get you to the
to avoid being
compelling to panelists.
of us
panelists
all
so
like: "I
the bacon. This
recommendations
because their proposals continue to be
many
who
than those
to the table
going to
become emotional. Contrary
on
create well- crafted docu-
turn their eager heads to see a mediocre or inept sample,
when you
source for that matter
producers go to the bottom of the
last
and uneven on both
once you get there, things change.
COMMUNICATION. To
several internationally respected
who can
the written word, producers
ITVS funding
of
even the
that reach
counts. Since the weeding-out process depends most heavily
to five strong
The
Most proposals
flawless?
into three camps: verbally flawed but visually gifted,
visually pedestrian but verbally impressive,
usually gets the flak,
these folks are actually the producers' best friends, which should
make you think
proposal
ing
on
fall
into an insular view about your pro-
you are an inexperienced producer or someone tak-
a bigger challenge than ever before,
make
sure that you
demonstrate that you have the right kind of support to face the
challenge. In contrast to
always
who you
are,
but
what one may
who
is
think, the issue
working with you.
is
not
PEER MYTHS. As
communities,
who
filmmaker
often assumed that
with "minority"
identifies
members of my own groups
if
my proposal would have a better chance

But let me tell you, that ain't always true. In
were part of the panel,

of being selected.
have
on ITVS
the two years that
same communities
as the applicant are
est critics, particularly
sat
by
far the project's
upon
the proposal touches
if
they are knowledgeable about and/or have a stake
when
tion,
people from these communities are very
defend
it,
In addi-
Most of the panel
fiction projects.
between an applicant and
tion of scripts. Affinity
common
times
experiences or aesthetics can
does transform
sion included five
al
lesbians.
women and two men; one
some-
this
hap-
African American,
and Miami (moi). The
ever, transcends these categories to also include
and with diverse values. Having
different markets
how-
diversity,
people working
and betwixt Hollywood, programmers
inside, outside,
karma of a new group may be more favorable to the project's

vision. These variables, however, tend to affect the middle-ofthe-road proposals more than the strong or weak ones. That is
why
in widely
P.O.V. Effect.
Many
who
producers
on PBS and
this
is
receiving feedback were
sion
apply to
ITVS
However,
it
have only a tenuous
phenomenon "the PQV

people who fall under this spell is
relationship to. Claire Aguilar calls this
and the number of
effect"
alarmingly high.
way
When
considering whether the personal voice
some time to consider

whether you are falling for the P.O.V. temptation and undermining your project's strengths. Bear in mind that a significant numis
the best
to treat your subject, take
ber of projects following this strategy were turned

the personal often overshadowed the
Sample. Sample. Sample.

do
a work-in-progress,
sample.
again.
If
try to
produce a sample. But not
quality possible. If your sample
tom of
the
pile.
sample can do
your project.
Or
a lot
If
dull,
room
is
just
sufficient,
for
any
think
are expecting the highest
technically substandard, struc-
will relocate
it
is
your project to the bot-
you cannot edit a compelling sample in time
why you
will
for
not be presenting
and concentrate your efforts in assembling clips that

show your past work in the best possible light. This may sound
obvious, but you would be
a critical eye
when
it
amazed
comes
to
improved sample and
funded
some
appli-
much improved
ver-
to
do things
also fair to say
It is
differently with televi-
than a consistent practice. In addition,
a goal rather
for many talented professionals used to the fast pitch and

making a living as producers. Personally, I am currently working
on several projects financed by investors and industry sources
because I'd rather be in development hell than ITVS limbo (the
money is better). But, the harsh reality of the American independent scene is that there are very few financing partners for
ITVS remains an
innovative programming and
exceptional
Importantly, producers can both increase their chances for
ITVS
it
is
as
how many people do not

their own work. If you have
at
is,
an institution by increasing the

of course, an elusive criterion
continuously changing. Panelists' taste has certainly
and so has the media world. Certain
shifted over the years,
ditions of documentary are almost
monstrous
erate
extinct, but
its
Experimental filmmaking
ratings.
tra-
dead while reality-shows genis
nearly
historical insights are liberally exploited by the
and MTV. I remember the good or bad

when many of us debated the merits of a project in
of its politics. The emphasis today is on creating accessible
advertising industry
old days
terms
and well-crafted products of substantial impact

possible audience.
Something may have been
to the broadest
lost in translation,
yet this situation presents us with stimulating challenges. Let's
we want to produce. If visual artistry is your

more time to your concept's depth. If analysis
critically examine your visual strategies. If you
think harder of what

strength, dedicate
your strength,
need collaborators, reach out.

broadcast audience,
ITVS
expect
them
to fund
to your intent,
to send
make
it
it.
If you have nothing to say to a

movie that works for you but don't
In raising your standards or adjusting
will
you the infamous
be harder for
ITVS
or any source
little letter.
See you on public television,

Frances Negron-Muntaner
one of the fellow panelists lamented: "A

of harm." I would go even further: It will kill
a sample
have
is still
as
the deadline, address the reasons
An
ed
is
you are submitting a proposal
If
sitting in the
weak, or plain
down because
interesting story.
you think that showing images
The people
turally
more
receive
call,
the overly complicated and convoluted procedures are not suit-
or
it
seems that the P.O.V. mystique propels one too many producers
to insert their biography into storylines they
the
found lacking.
still
that ITVS' sweeping vision
funding and strengthen
one of the most
a logical goal.
is
and is
and process
into this category
fall
make
quality of their work. Quality
a P.O.V. broadcast. Certainly P.O.V.
exciting venues
perceived to
cants. In the last round, the panel
and
The
is
imperative to
said that,
generally achieved.
dream of
it is
resource.
each group tends to work towards consensus. And, believe

it is
your project
if
the feedback from ITVS, and re -apply.
panel dynamics change from panel to panel, yet, remarkably,
not,
good
a panelist
and
Brit,
York, Utah, Los Angeles,
why
sions of earlier proposals, while discarding proposals that despite
one Asian, one Jew, one Anglo, and severThere were people from Texas, San Francisco, New
one Latina, one
can find a
will listen
an advocate. But
a panelist into
is
one panel and accepted by another. It

better advocate under a different configuration or the
proposal, plus a different panel can spell success for
frequently than
less
That
not, of course, neutral.
is
less likely
we may assume. In fact, one of the most

reassuring things about ITVS panels is that they are never the
same and they are diverse on more than one count. This last sespens
peer process
project can be rejected by
rejected,
carefully to those with screenwriting experience in the evalua-
based on
The
Consider
Is Perfect: Stuff to
of a
critical
deferring to the person with insider knowledge. This
happens with
also
harsh-
issues that
in.
given proposal, panelists from other communities are

to
from the
panels, the folks
Nobody
Frtmces Negron-Muntaner
and
cultural
U.S.,
critic.
is
an award-winning filmmaker,
Her films
liave
been screened
Canada, Europe, and Latin America,

public television statiom. She
is
writer, journalist,
in festivals
throughout the
as well as broadcast
an many
currently developing a fiction feature.
completing two documentaries, and delivering a book
Passing Memories: Puerto Rican Culture,

(forthcoming from
oj essays titled
American Entertainment
New
York
niversit) PressJ
10 mediocre clips and one brilliant one, just send the brilliant
one. First impressions only need last 10 seconds to be disastrous.
May
2001
THE INDEPENDENT
35
LABOR
DOCUMENTARY.
IN
be plowed as
IT FEELS
NOT SO MUCH
LIKE
FIELD
TO
does a rink in which you can carve careful figures,
it
its
it
milestones and
its
fans but
no mass
following. This
because
is
wears the hair-shirt of "journalism" in the steamy tropics of
now, whenever somebody,
grew up in the shadow of movie palaces and

and its m.o. inside those dark spaces was
"news featurette." There's no equivalent in
me
the film world to weekly listings of
occasionally delicate ones. But increasingly
find myself being
cut off by exceedingly busy people with crossover dreams. So
in fiction or doc, tells
how he's
teller"
need
and
off to the side
to pull
sit
It
their fictional dreams,
Stran^r THAN
"basically a story-
feel a
"entertainment."
the best selling nonfiction. Film
Fiction
publications
do
not, as the
New
down
for a while.
Here's
quick
I tfcv^n-U.cJ tto+uUXl
L-^V.avaX,'
story
anyway: I'm out the eleva-
on a 14th floor
town Manhattan.
tor
Fifteen minutes
in mid-
on
the reception-area low leather couch,
through
flipping
An
Cable.
my
Broadcasting
his corner office. "Sorry,
Haven't
running behind, coffee?
had time
York Times Book Review does, devote over half their space to
to read the proposal yet
but here's the thing (leaning into
appraisals of this material.
my
scape in film and
documen-
personal space):
taries
can have dramatic
ture,
with plot points, build,
it
all
in,
and
something
if
that
I
and we can
talk.
first
those
term
able
the
campaigni
But
orifice."
the
and
had
tion. I'd
that's
it.
Burnish
is:
what makes you happy,
For that you have to climb
than
fiction, these trips
and ends and
quickly real-
actually
via 16 millimeter
than
its
content?
train.
understand that
of Motion Picture Arts and Sciences
is
about to
weepy
a separate category for the Oscars: best film about
turn out to have beginnings, middles,
are sprinkled with Strong Characters
who
have,
Moving Personal Stories.

I make what are generally referred to as essay films.
probably knew the field was going to be uphill about
the same time I understood that the desire for fic-
that's right,
been
tradi-
been indoctrinated
videocassette,
if
people re-visiting a foreign country with a film crew. Stranger
"sphincter
formed in the same
Academy
open
ized that, decades apart, this
kid
throw-back projects
a film's craft or style rather
print-
called that reporter during
the
just treading
When did you last read a documentary review that focused on
what Bush
for
all
aboard the cable-produced, churn-'em-out, true-life-story
impulse was to
what's
little
or twice a year
documentary fund-
The continuing economic message
but don't expect to make a living at
dismiss the guy as a major
league
"crisis in
remind us of the extent to which we're
water anyway.
can come back
description,
My
ing" to
this
fits
And then once
talk.
the Times runs an article about the
of
can bring him
So people who stroll the factual landthey have to walk the narrative
TV know that
walk and talk the West Coast
struc-
That's what they're inter-
."
ested
A* LY<K>
I ALfhf
way
age eventually leads the
back to
&
executive producer half
and he on
tion has
its
roots deep in the oedipal gratification
of toddlers having been read to in parental beds.
but a docu-
mentary has forever been
Who
something sponsored by a
aren't
petroleum company and
can't be such a complicated marketing question.
what you saw

class
when
Is it
is
in chemistry
any wonder that even those of us
who
create these things
them askance? I probably have 50 cassettes of brilliant

documentaries on my home-office shelves. But when my wife
and I want to kick back on a Friday night, will we pull down one
of those gems? Are you kidding? We'd rather wander the local
45 minutes, in slack-jawed contemplation
of fiction boxes whose graphics ambiguously suggest that
have already seen what's
we may
THE INDEPENDENT
May
term
myself stopped
ductory autobios at one of those bucolic

veteran Hollywood director looked at
suddenly
In
moments
cyclical
room and
silent,
or something?"
left
replied,
me
summer workshops,
across a crowded, but
"You mean
like
Thoreau
that afternoon.
of despair
and that the day
will
remind myself that much of
come when
something other than three -act
life is
room for
Nuanced films
there will be
storytelling.
about obscure people and quiet phenomena are what everyone
inside.
There's no durable documentary heritage in America.
36
is
using about 10 years ago when, after the intro-
look at
aisles for
fathers
reading essays to their children? This
Actually "essay film"
the teacher didn't have a lesson plan for the day.
Blockbuster
knows why more mothers and
2001
It
has
will
be looking forward to
when
the
weekend
rolls
around. People
magazine
will
be going through the trash of essay filmmakers for
juicy bio details.
My
sons will witness this even
For now, fortunes are being
students of all ages, at $750 a pop,

as rising
and
American
larger
how
falling in thrilling
cities
One
screen-
teaching
to think about their lives
crescendos and instructive
encouraging small groups of
men and women

their
in pain to edit
and
hydroplaning the
the boring
bits.
Here's what Plato had to say
subject:
"Shall we, then,
made up
by just anyone, and to take into their minds views which, on the
whole, contradict those we'll want them to have as adults?"
Plato's
for sure
comes from.
trip to
on the
casually allow our children to listen to any old stories,
daily
where the recent mania
guy, but
dramatic whitecaps and leaving out
then we're surprised when sullen teens seem
have shortened attention spans.
to
answer to
for sto-
next
as well as the
I
my
don't think
the cleaners this
morning has to be
thought of as
And
own
is,
from
loosely translated
the Greek, "Hell no."
My own father, just
like a
his
question
rhetorical
good yarn
And
them
hard to know
rytelling
seem dramatic if you

it. That's what all
That's
and
for others.
It's
will
to narrate
histories
life
activities,
life
Of course.
these filmed and written concoctions we're so wild about are
doing
diminuendos. The most mundane of experiences have

"arcs." Therapists are
of her characters says, "Any
omit mention of most of it."
don't.
made by people running
most of the
writing seminars in
if I
turned 90, has what

I
think
is
the keen-
characteriza-
est
tion of the fabrica-
found
tions
having dra-
matic structure.
be fine
if
It
would
the function of
this narrative exertion
all
were
only to entertain us, but the

legions of
may be
New
Storytellers
trying
conjure
to
something more substantial.
models
lessons;
Life
how
you
to
for
behave when
kiss,
when
you're
when
arrested,
you're fired, hospitalized,
when
the
spinning needle of possible infidelity slows

I'd like to
ots
in
in front of you.
ban on the word.
the Ivory Coast or people
schools and spin

faces.
and stops
see a virtual
The
wonderment out
rest of us are talkers,
workers, or wonderfully caring
who
to
appear at elementary
upturned four-year-old
but we do not meet the
definition of a storyteller.
Actually, the best
across
can be found
summation of narrative
popular
He
waves
his
hand dismissively
downward at the
TV and calls
what he's seeing,
Yiddish,
in
"facaktah bubbemeises." Literally
think
means
tales
this
"unlikely
from your grandmother, smeared with doo-doo" but
learned early that you should never

eral.
"Storytellers" are gri-
promoters, grant- seekers, net-
humans
most
entertainment.
What
right inside a short story by
ever run
Ann
Beatie.
make Yiddish
too
lit-
that language does best (in the hands of skilled prac-
my
is deflate. I think my lather and Plato are

same thing: Let's not get too carried away.
These things are dreamed up by people who arc, essentially, not
working. Their creations can be a lot ot tun, hut the education
titioner like
father)
basically saying the
al
value
is
limited.
Raljih Arlyck
skill I've
try to
which
re-visits a
is
finishing a jeaturc length
precocious boy, Sean, he
four-year-old in Haight
\U
AVI
Ashhury
documentary
first
filmed as a
in the late sixties.
THE INDEPENDENT
37
^D
JSJSJ
About Oscar
All
Oscar
Michaeux, His Silent Films, and His
Audiences, by Pearl Bowser and Louise
Spence; New Brunswick: Rutgers Univ.
Writing Himself into
Press,
289
$20
pp.,
The Cinema
Lick:
Straight
History:
Oscar
of
Michaeux, by J. Ronald Green;

Bloomington: Indiana Univ. Press, 295
pp.,
the foundation for his intermittently suc-
ry of
cessful but astonishingly tenacious career
silent
on the margins of the
sources.
Brian Frye
by
cal data rather
case
passionate
from
his
criticizing
lifetime
does,
Clare,
the cheap, they offer profound
the
the
films,
offhandedly
dismiss
from
refrain
merit
aesthetic
do
neither
of
they
idiosyncratic
his
regret only that the they chose to
as
among
his
his
Michaeux's
study to
their
films,
sound
silent
arguably
are
films
most rewarding and are in
far
One can
only hope that they will remedy this over-
the Nouvelle Vague and
New American
Cinema.
Michaeux was a visionary,

and his films have the
blunt, visceral force of true
Probably best
conviction.
known now
ful
is
for his
wonder-
Body and Soul (1925),

Paul
starring
indis-
returns
a pleasure to read.
cine-povera aesthetic anticipates that of
Robeson
putably major poets, to
whom he
is
Michaeux's
limit
histori-
greater need of recuperation.
and Roussel on the

not
mere
While
films are hardly
into History
While the authors generally

discussing
on
than posturing, Writing
rewards to the attentive viewer. Their
Bed-
it
Himself
style.
But Michaeux's
minor
grounds that often

they,
than any Black filmmaker
before or since.
the
for
of
significance
poets like
He was
not one to refrain

what he saw as the failings
of his brethren. Beset by censors and creditors alike, he made more feature films in
in his films.
Other Traditions,
John Ashbery makes
from primary
largely
Lucidly written and carefully
researched, with an emphasis
recent book of
essays,
drawn
era,
moral rectitude found explicit expression
curiosities of sociological interest.
$29.95
his
industry.
Michaeux's firm belief in self-reliance and
made on
In
film
Michaeux's productions during the
as
philandering
when
sight with a
second volume.
Green's Straight Lick
less successful.
is
Burdened by an awkward, turgid style and

a profusion of lengthy, redundant quotations, Straight Lick does Michaeux a profound disservice. Despite
introduction, in which
promising
Green makes a
case for Michaeux's artistic "greatness,"
morass of
his films are quickly lost in a
hackneyed neo-Marxist pedantry.
found
Green's belabored efforts to oppose the
be
preacher,
terms "middle class" and "bourgeois" sin-
reminded yet again of
Micheaux con-
gularly
tinued
need
needs
he
"to
what poetry is." A

comparable case can be
made
directors
for
Michaeux, the most
Oscar
and
like
the 1920s.
Michaeux seamlessly fused the

missionary
zeal
of
the
social
on shoestring bud300 or so theaters across the
well
worse than no defense
remains a rather obscure
figure,
today
remem-
an
Thankfully, however, his
than
luck slowly appears to be changing.
to the
still
young
was
film industry,
taking a coldly practical view of racial

injustice
and tackling taboos
like
misce-
genation.
The consummate Black entrepreneur
as
Green shows no evidence of any

and pasHis half-hearted defense of The Girl
in 1948.
he insisted on
a social realism that
space he
A star
on Hollywood Boulevard, a posthumous

lifetime achievement award from the
Directors Guild of America, and an annual Oscar Michaeux Film Festival in
Gregory, South Dakota (the site of his old
homestead) have all contributed to his
change of fortune. Last year alone saw
little
al films,
from Chicago
country that catered to Black audiences,
anathema
into
sound era,
making his last
film, The Betrayal,
bered more as an important precedent

artist.
what
utterly mystifying. In
devotes to discussion of Michaeux's actu-
Unfortunately,
so-called "Race" films

gets for the
strange
his
compelling
Michaeux
Making
and
Marx and Michaeux
square
his strange-
reformer to the shameless hucksterism of the exploitation film.
unconvincing,
to
duce
the
Black filmmaker of
indefatigable
pro-
ly
films
brilliant
to
feeling for their peculiar beauty

sion.
(1932),
for
at
example,
is
Painfully
all.
obfuscatory statements like "the evaluation of Michaeux's
accomplishment has
hardly begun, and fundamental valuative
remain obscure" cause one to

wonder what Green conceives the role of
criteria
the critic to be,
if
not to determine these
"valuative criteria."
Ashbery asks rhetorically whether

there
is
"something inherently stimulat-
ing in the poetry called 'minor,' some-
thing
it
can do
for us
when major
poetry
wages into a South Dakota homestead.
several
Michaeux,
can merely wring its hands?" In the case

of Michaeux, the answer could not be
clearer. Oscar Michaeux was not one to
After an unfortunate marriage and the
including Writing Himself into History:
wring his hands, and his example remains
of the Jazz Age, the young
Michaeux got
his start as a railway worker, parlaying his
loss of his
farm to foreclosure, he wrote a
on his experiences,
The Homesteader, which became the basis
for his first film. Self-produced and
directed, Michaeux's eponymous film
premiered in Chicago in 1917 and was
successful novel based
38
THE INDEPENDENT
May 2001
new books devoted
Oscar Michaeux, His
to
Silent Films,
and His
Audiences by Pearl Bowser and Louise
Spence and
The Cinema of
Ronald Green.
Straight Lick:
Oscar Michaeux by
J.
Bowser and Spence's excellent Writing

Himself into History offers a detailed histo-
among
the most inspiring the cinema has
to offer: that of
mind
an
artist
who
spoke his
in the face of the harshest adversity,
abandoning neither
Brian Frye
is
his beliefs
nor
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reacquaint
with the
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mid-town
One of the most confounding experiences of my film school education was
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Avid. Although
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already spent years
I'd
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Easier for editing
to the point
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books designed
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But
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Avid
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texts about digital nonlinear edit-
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technology considtant.
<j
Daniel Steinhart
by
acclaimed series
airs
;^_T
docs that reflect con-
American issues. Bellevue:

Inside Out (May 6) Filmmakers Maryann
DeLeo and Sarah Teale use their unprecetemporary
independent film market

no time for slow builds. With
this in mind "On View" offers shameless plugs for current releases and
national broadcasts of independent
films and videos in the hope that you'll
In
today's
there's
Who
support them.
do the same
they'll
knows
for
dented access
to
famous psychiatric
New
Hospital in
maybe
the
York
most
country's
Bellevue
institution,
City, to give voice
to the individuals striving for sanity. Living

Dolls: the
you someday.
Making of a Beauty Queen (May
13) Shooting over the course of a year,
director Shari
THEATRICAL
The Center
of
World
the
delivers
human
queen
20,
digital
interaction,
Monet
Richard Longman
reveals
within their
Chris Hegedus, D.A. Penne-
From Tod
escapade in Las
S.
Lending's Legacy, on
and newcomer Jehane

Noujaim take a behind-the-
how one
family broke free of the welfare cycle.
phenomenon,
conceived the story
with the help of writer

grrrl
Siri
Hustvedt,
Miranda
extraordinaire
com. Shot on
previously collaborated with
on Smoke and Blue in the Face.

On Hostile Ground (April 6
York 6k
May
nationwide,
ing International).
Liz
in
Wang
New
Cowboy Book-
Documentary makers
Mermin and Jenny Raskin weave
friends
trials
of two best
progress
from being
the
they
as
novices with only a business plan to leaders of a nationally
recognized company.
With the continuing downfall of hundreds of Internet companies, this docu-
mentary may prove to be an important

historical record of that
together the stories of three medical professionals
who
risk their lives to
provide
abortions in an increasingly dangerous

filled
with angry protestors and
sometimes violent attackers. Using
life,
the film supplants the

that surround abortion
and instead focuses on the undervalued

personalities,
who have become
(May, IFC Films). In this
intimate movie, filmmaker Jim
and
Rodrick)
,
at
teenaged
the
girls,
rehearsals
while
McKay
with
of three
their
face off in a fight for love

to
his
Queens
after being falsely impris-
oned, Ryan
drawn
to his ex-girlfirend
Carla (Jordan Bayne),
who is now married
is
to the small-time
secrets
mobster Vincent. As the
between the characters begin
Brooklyn
who endure demanding
(Jonathan
neighborhood
Ryan
finds himself in a world
to
he
has desperately tried to avoid.
TELEVISION
daydreaming,
and confronting the
flirting
with
rising tensions
America
HBO).
Ben Kingsley
in
its
18th
narrates this account of the
of Islamic power and faith, and
rise
its
on Western culture.
Filmmaker Rob Gardner combines histor-
deep
impact
reenactments, analysis of Islamic
ical
art,
and interviews with scholars from around

the world to address the history and culture of Islam.
Legacy (May, HBO). For four generations the Collins family
was trapped
in
upon welfare, and living

in one of the most perilous housing projects
in
America Chicago's Henry
Horner Homes. By documenting and
poverty, relying
immersing himself
in
the
Collins family, filmmaker

tells
the inspiring story oi
lives
the
of
Tod S. Lending
how members ol
one African-American family break
free
overcome addiction,
escape the shadow ot violence in
and
welfare,
their
community.
Undercover Sundays
Now
fire to
home. Through it all, the power of

their familial bond bridges their age difference and enables them to survive the system that threatens to tear them apart.
Islam: Empire of Faith (May 8, PBS).
their
ot
marching band,
spending the hot summer days
shoplifting,
boys,
lives
who
Vincent
and power. Returning
resurface,
looks
attack and Walter accidentally sets
about two old enemies, Ryan (Michael
targets in
a tense civil war.
Our Song
in time.
Michael Sergio's directorial debut
LaPaglia)
ethical debates
Mama
18 months, as Viola suffers a heart
for
inter-
views and footage of both professional
and private
moment
Under Hellgate Bridge (May, CAVU

Pictures). Newly formed CAVU Pictures
releases
world
the
digital video, the verite style
chronicles
and writer/filmmaker Paul Auster,
who
tracking
tumultuous development of govWorks.

film
July,
look at the start-up
scenes
Vegas in exchange
multi-media
friendships.
(May, Artisan).
baker,
pany him on a sexu-
Wang
own
Startup.com
day and a stripper
for $10,000.
of his
(May, Cinemax) Producer,

and Academy Award-winner
Tracy Seretean documents an 89-year-old
African American grandmother's battle
to raise her orphaned nine-year-old
grandson in South Central Los Angeles.
The film follows Viola and Walter Dees
Big
by night, to accom-
al
new information about some
director,
drummer by
rock
Mafia hitman
previously unsolved crimes.
asks Florence
Parker),
notorious
visits
Richard Kuklinski in prison, where he
computer engi-
(Molly
Secrets of a
Mafia Hitman (May 20) Director Gabby
young and successneer,
The Iceman Confesses:
ents.
and provocative
video. Longing for
(Peter Sarsgaard), a
ful
world of heavy makeup, cat-
in a
walk routines, and ambitious stage par-
voyeuristic
shot on
story
(April
Wayne Wang
Artisan Entertainment).
Cookson records the expe-
rience of a five-year-old aspiring beauty
year,
(May,
this
)aniel Steinhart
at
May
2001
is
an tntem
The Independent.
THE INDEPENDENT
41
^
HJT.M-rîfe
Where does the funding come from
PBS HOME VIDEO
Home
PBS Home Video
LlSSA Gl BBS
BY
outlets
Video, 1320 Braddock Place,
italize
www.PBS.org; e-commerce
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PBS Home Video?
The mission
PBS Home Video
of
is
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highest quality products and services to our cus-
tomers and member stations while promoting the

core ideals of our company: education, culture,
and citizenship.
and
bility
We
do
and licensing are put back
mass
ucts through
programming through
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retail
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Home
which
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shopPBS
an extension
PBS Home Video

sales, select
PBS
marketing
titles
and
(our
e-commerce
site,
of our online service), the
catalog, on-air direct response

direct retail
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is
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dent producers and public television

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print of the
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PBS Home
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PBS Home Video
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Every purchase of a
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Bell,
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Cindy Haimowitz, Director of Retail Sales
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Total
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How many works
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25
Best known
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How, when, and why did PBS
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in
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title
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PBS Home Video's
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Although there are several, the most well-known
PBS Home Video was developed

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title
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to the educational
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PBS Home Video
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We
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PBS Home
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Ken Burns' The
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Civil
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More than 500 series and individual
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Brooklyn's Hy Myers at the plate during the 1916 World
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Ken Burns' national past-time opus Baseball.

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Films and filmmakers you distribute:
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PBS Home Video & Tracey
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PBS wants
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America,
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Time Warner:
David Grubin {FDR, IB], Napoleon,
Our
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all
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Burns's
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Lincoln);
York:
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WW
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West;
Zoboomafoo,
{Teletubbies,
Caillou,
which
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How does
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PBS Home Video programs must have
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Are there specific advantages to being aired on
PBS and then
PBS Home
also distributed by
We
Video?
Sure.
Got Docs?...
Consumers know and
trust
PBS
to
be a lead-
ing provider of poignant, high-quality, entertaining
programs.
Our broadcast reaches
households and because
trust our
in
the
of
U.S.
looking for high-quality documentaries

distribution.
CS
Associates
has
in
all
specialized
in
sales
and
pre-sales
of
we've been
of that reach,
able to build incredible equity
Consumers
99%
are
broadcast
PBS brand.
programs and services and
look to the brand as a seal of value
and
Do you also distribute
titles that
may have
shown
PBS
regionally on a
quality.
only
affiliate?
Occasionally, but not often.
Using
national
its
feed,
does PBS publicize
videos on-air that are available through other

distributors?
Not
directly.
managed
If
by
a distribution service
it's
public
television
owned and
yes.
station,
Otherwise, no.
22 Weston Road, Lincoln, Massachusetts
How do teachers
find out
about the
titles
you
addition to our
kets
78 .259.9988
e-mail:
handle?
In
eel:
Home
Video business,
PBS mar-
and distributes products and services
fax:
773
78 .259.9966
1
[email protected]
to Brian Gilbert, Director of Acquisitions
to the
May
2001
THE INDEPENDENT
43
*'""
iB!inHT ? ihi -
PBS Video brand.
education (AV) market under the
PRODUCTION
POST PRODUCTION
DUPLICATION
This business
N|
our mission to promote edu-
fulfills
quality products
ketplace.
cation and be a solid resource for educators.
for
your
in
formats as dictated by the mar-
We have
testing various
Do you develop study guides
consumers the same high-
provide
technology,
a division at
new
PBS dedicated
we
technologies, and
to
con-
will
titles?
tinue to support their efforts.
we
Yes,
do.
Other domestic or
been
What's
the
foreign distributors
change at
biggest
PBS Home Video
5 min.
$800
60 min.
$1 750
90 min.
youth.
expanding
From
an
PBS
kid's
$2000
company
their talents to pro-
and
'tween
pre-
mote
programs
young
their products
to
pro-
adult
PBS
gramming,
new
ing
add
We'd
Home
Acorn
Video to
series to
this list
as well.
What's
the
best
you've
seen
and home
television
video.
effec-
is
tively.
pelling
and
trade
the
consumers
some com-
bringing
Video Duplication
uses
that
of
line
to
Media 100 Editing

Production Packages
marketing-savvy
$1 200
school
A few upcom-
film
programs include
Frontline 's
Mer-
lately?
20 VHS Tapes
chants
of
Cool,
There are so many.
w/sleeves & labels

Independents
Only
which
looks
at
Jazz, naturally. Also,
today's
teens
and
Sound &
Fury. Both
the impact they have
received
well-de-
on the U.S. economy;
served Oscar nomi-
American
nations.
High,
producer
dent
here
indepen-
by
series"
Charlie Parker and the
R.J.
Metronome
All
Stars
in
New York
City,
classes & tutorials
and formatted
a compelling
docudrama that follows
group
children's series, including
Sagwa, The
Chinese Siamese Cat, an animated Anne of Green
Also, our launch of
DVD
titles to
to
name
date
VHS and DVD
Lincoln, were also great.
one
bit of
advice
it
Home
deliver a compelling story. Also,
more than one
We know
services what a
or
two photos
596 Broadway
Suite
602 inSoHo
premium
of the
PBS consumer
is
willing to
pay
supports
^$^0,
retail
retail
Home
program that
needs while being able
flexible
and
to maintain
the marketplace.
in
Where
PBS Home Video be 10 years from
PBS Home Video
will
ming endeavors
of
May
2001
for:
most
nine falsely accused African-American teenagers

trial in
Alabama
for rape. Also
Natural History of
the Chicken, produced by Mark Lewis and recently
screened at Sundance, which looks at chickens
and the people who love them.
Famous
last
words:
and Educate (but keep
it
simple).
continue to support program-
PBS and through cutting-edge
Lissa Gibbs
is
a contributing editor to The Independent
and former Film
THE INDEPENDENT
watch
Leibowitz, one of the country's
Excite, Enrich,
Media Arts Center
to
significant legal fights of the 20th cen-
now?
Digital
etc.
prominent defense attorneys, was hired to defend
on
is
most
Samuel
Video on
our position
will
helps to have
for
and securing placement at
price point
developing a key
it
work when devel-
on The American Experience, which examines one
We're working with Warner
retail.
to
Scottsboro, produced by Barak Goodman and aired
through our internal distribution
our products but have a hard time maintaining a
[2I2] 43I-II30
But probably
oping packaging, sales materials, catalogs,
tury.
releases has been a big change.
Video today?
Pricing.
the most important piece of advice would be to
Upcoming releases
TALENT
to
to mind.
a few.
What's the most important issue facing PBS
CULTIVATING
would be
Wow, so many things come
support our busi-
ness by mining our catalog and having day-and-
Program
two films by David Grubin, Napoleon and
Abraham and Mary

If
Gables series, and Cyberchase,
last
of
teens throughout their senior high school year; and
many new
PBS; David Zeiger's Senior Year,
for
enjoyed
of the Chicken. The
and has subsequently been reworked
aired on Fox
Everyone
really
The Natural History
1949
Cutler that originally
umall
in
They're
Winstar:
Focusing on
& one disc
30 min.
why:
recent years?

and
admire
you
in
i.u.ii.u.r,..,...:,
NATIONAL BLACK PROGRAMMING CONSORTIUM

Michelle Coe
by
145
E.
125
St,
gramming
Programming Consortium
National Black
New
fl.,
York,
ty'
NY 10035;
does them a dis-
label
service. Especially given the fact that
(212) 828-7588; fax: 828-9380;
[email protected]
Haddock
Contact: Mable
or issues are not 'minori-
and that
we
not now, then soon,
together,
if
become
the
will
demographic.
majority
But programming that
culturally
is
specific to our communities, in this
What
the
is
Programming
Black
National
case African-American, the faces on
Consortium?
NBPC
is
arts
behind the screen. And the point of
view
preservation, and distribution of non-stereo-
typical,
contemporary
and
diverse,
culturally
issues emanating from African American
NBPC
nities.
is
one
of five consortia
am
pri-
specific to the histories, cul-
is
and concerns
ture
commu-
funded
consortium
shares the exact
same
definition of
(CPB) to increase diversity through programming,
port to
their
community.
each
minority
new producers from
of the
if
not
marily by the Corporation for Public Broadcasting
bringing
the
in
decision-making
development and
and fund-
ing organization dedicated to the promotion, funding,
are substantially reflected
air
media
a national nonprofit
sure
programming and don't pur-
speak
for
them
all.
communities
Do you have any direct involveinto the
system, and generally helping to promote
ment with these consortia?

the rich tapestry of American culture to the nationappropriate,
we
For example,
co-
When and where

al
public television audience.
share resources.
When and why

NBPC was
NBPC come
did the
and began active work
come
in
presentation of programming to the
into being?
incorporated as an organization
in
1979
national
1980. As the third con-
public
series
like
American and the Latino consortia, NBPC's goal
(see
26)
was
working with PBS and CPB
to
to find
ways
into
Native
being after the
work with African American
to
producers and public television to get more work

for
producers
into the national
PBS system, and
to
work within African American communities

increase support for and
sion
to
program manager (Paulette
CPB
is
in
To bring to public television, and to the general
communities
and
by
in
is
is
parallel that of consortia
about African-American
diversity
particular,
those which reflect
NBPC
is
the
composed
in
the
new devel-
field.
of its goals
that
in
the increase of
is,
programming, training
and interests
for multicultural
employment
diversity at
and making sure that the system
all
reflects
How has
the funding climate for independent
media changed since the NBPC's inception?
Many changes have

where funding
occurred.
many cases
In
levels increase, risk-taking, experi-
new ideas and forms decrease.
mentation, and
There has been a move on the part
of public tele-
vision for the past 10 years to encourage
What percentage
a diverse board of directors
which includes two public television representatives,
opments
the nation's rich diversity.
NBPC?
of
in
producers, increase
levels,
American communities.
Many
instances.
This year
has been
it
is
of
PBS
and supporter, and a partner
a major funder
many
the rich spectrum of the diversity within African-
Who makes up
your relationship to CPB?
TV,
to provide
sending producers to confer-
meeting),
ences, etc. to increase and update on
What
The driving philosophy behind the NBPC
stories
Clark).
and Color
soring workshops and forums at the national
annual
visibility of public televi-
and independent work.
public,
and a grants
Scott),
pp.
producer services (including spon-
(Dorothy Johnson), director of program development
and new technology (Terrence
story
the
for
Matters of Race
national system
sortium
system,
television
major
developing
your budget
about 45%. However,
as high as
from CPB?
is
it
can be
and
75%.
mini-series for the core schedule, which
ema
to
is
more
anath-
what many independents are producing
shorts and one-offs.
New
technology continues to
an attorney, a financial person, corporate and
entrepreneurial
representation,
educational
and
What are
community/social service representation, and an
sortia?
independent producer. The board meets three
To assist
times a year. There
is
to four
also a producer advisor board
which meets annually, a community advisory board
the purposes of the
CPB
minority con-
threaten to turn
it
in
bringing diversity to the system partic-
ularly with
respect to program development and
media upside down, and bring with
great changes due to cost reduction and higher
levels of quality
fact,
little
maintenance
change has
drifted
for productions. In
into
the
system,
except for the models and experiments taking place
producer services.
through the CPB, which, compared to commercial
which meets monthly, an outreach
staff located in
How do you
the Pittsburgh office, a partnership relationship with
Minority
WQED/Pittsburgh. Located
in
the
New
define "minority programming"?
programming
is,
has been, and
York office are
the president/CEO (Mable Haddock), office
tinue to be defined
manager
who
is
in
different
will
con-
ways, depending on
doing the defining. Our sense
is
that the pro-
TV,
simply does not have adequate resources to
meet the many
training
and research needs out
there. In response, the consortium has partnered
with
CPB
to
Mis
provide training and workshops to
2001
THE INDEPENDENT
45
tib:n^-^
Political philosopher, orator, minister,
CALL US!
husband
and father Malcolm X from The American
Make
Experience: Malcolm X:
it
Plain.
1-800-431-2050 ext 121
Human
Relations
Media
has been a leading



We Ye
looking for
new
Celebrated African-American poet Audre Lorde
fff4M:
from A Litany for Survival: The Life and Work

of Audre Lorde.
mom

minority producers around
41
800-431-2050
www.hrmvideo.com
10549
Fax:914-244-0485
new technology and
its
impact on public television and producers.
Stories reflecting the issues, concerns,
from that community, and ownership
What percentage
and cul-
tures of the community, involvement of producers

of project by
NBPC's overall budget
of the
[email protected]
producer from that community.
should
Projects
goes towards individual film or video projects?

also demonstrate that they can be generally
com-
70%.
pleted within a reasonable time period for produc-
How many awards

is
the total dollar
are given out per year? What
amount awarded annually?
Both the number of awards and the
amount change according

including
how much we
CPB. For instance,
to a
total
number
dollar
of factors,
are able to raise outside
this year
we
raised $3 million
Matters of Race series. Generally,
NBPC
funds three to seven projects from the open
solici-
for the
tion or post (no
more than two years) using com-
munity support and an experienced crew. The pro-
have a reasonable budget plus out-
ject should
reach and distribution plans. Added funding incentives include built-in training
soned producers.
Do you fund projects

tation,
and another three
to five
from
its
included.
in
specific stages?
who was funded
in
the development
tionary funding.
stage
What are the average
sizes of these grants?
Yes,
come back
to
you for distribution funds?
and yes.
Grant size ranges from as low as $3,000 to as high

as
$250,000
with
the
average
being
about
Annually. Generally the proposal deadline
Avid Media
Composer
at rates
$50,000.
October
Off-line
the artist
Can an
discre-
individual
Everything
and internship oppor-
emerging producers from more sea-
tunities for
How many
30.
months
Decisions
are
made
is
within
about
three
after the deadline.
per year?
Once the applicant receives funding, are there

On average we get about 100 applications from the
can afford.
Manhattan
time-frame restrictions within which the funds
suite.
request for proposals, and about another 25 to 35
must be used? Can the same individual apply
which are unsolicited.

for funds
What are the
Applicant should be a U.S. citizen or have a co-pro-
Y
Tel: (516)
810-7238
Fax (516) 421-6923
ducer based
in
applicant
May 2001
who
is
making
his or her deliverables
can
project which has been denied funding can
most every-
come
in
three successive years and
sit
out one.
game.
Do you
of projects
do you seek?
offer
any additional assistance
to fund-
ed projects? What resources do you offer pro-
ducers?
THE INDEPENDENT
is
apply.
is fair
What types
46
a row?
the U.S. Films/videos produced for
industry are obviously not acceptable;
thing else
in
no restriction on the number of years a successful
cations?
kitchen
two years
The funds must be used within two years. There
We can
producers
refer
them
refer
community
also offer a
sources
We
of funding.
some
festival,
workshop opportunities,
PRODUCTION & POST
as well as
to distributors,
to other potential
and
training,
information-sharing via
our newsletter and web, and outreach services for

projects via our outreach division.
There are a couple of films for sale on your we
How
site.
involved do you get with projects you
fund?
NBPC
some
distributes
distributes
some
to
we do
it
also
the
CPB
not distribute
funding and other restrictions.
Name some
artists
fund;
come through
fund. The majority, however,
due
we
of the films
that do not
best-known
the
of
and/or
titles
you have funded. What have been some
of the distribution
paths of those projects?
Dash's Daughters of the Dust, for public televi-
Julie
sion airing; Marlon Riggs' Black Is
Tongues
Untied for
Newsreel
handles
public
Black
Ain't;
television
(California
Avon
Kirkland's
distribution);
Simple Justice: The Story of Thurgood Marshall and
(NBPC handles
Street Soldiers
SHOOT FILM BASIC SCREENWRITING CAMERA FILM LABS GUEST SPEAKERS FILM STUDIO TOURS SOUND
DIRECTING RENTAL HOUSES EDITING VIDEO FILM TO VIDEO TRANSFER DISTRIBUTION WEB ANALIZE FILMS
FILM EDITING BUSINESS OF FILM BUDGETS LIGHTING TECHNIQUES PRODUCING RESOURCES FILM STOCKS
VIDEO ALTERNATIVES NON-LINEAR EDITING WORKING WITH ACTORS CAREER GUIDANCE DIGITAL VIDEO
distribution for Street
Make
Orlando Bagwell's Malcolm X;
Soldiers);
MAKE MOVIES
It
Plain for public television, The August Wilson Story

for
public
(soon
television
Hymn
Masters), A
be on American
to
(NBPC has
for Alvin Alley
WEEK
INTENSIVE
PROGRAM
distri-
bution on the Ailey project); Louis Massiah's W.E.B.
DuBois: A Biography in 4 Voices (NBPC has limited
Madison
distribution);
(NBPC has
Davis
Black Boy
Lacy's
air
month (NBPC
handle distribution for education-
market);
will
Stanley
Soldiers Without
The
The Black Press:
Nelson's
Your unique creative visiontakes shape under the

guidance of our experienced faculty.comprised of
award-winning, industry professionals.
Bunche
public
television;
for public television;
Smith's work on George Clinton,
now
in
Bill
Yvonne
INSTRUCTION BY
development
Asses
negotiating educational rights); Demetria
is
Royals Conjurer
production
aspects of filmmaking.
Swords and Marcus Garvey: See
Whirlwind; for
Greaves' Ralph
(NBPC
in all
hands-on
on Great Performances next
choreography, for
You In
experience and instruction
offers
limited distribution), also Lacy's Free to
Dance, a three-part series on black dance and
al
Our four-week, intensive program
Women and now
(NBPC
Conjurer
own educational
will
Men
rights
AWARD-WINNING FILMMAKERS
in
AND INDUSTRY PROFESSIONALS
on
Men); and many more.
Who
in April.
Haddock acted as program
Who makes
of
TUITION INCLUDES FILM, EQUIPMENT,
are the program officers?
Paulette Clark began
Prior to that,
Mable
officer.
the awards decisions?
Name
ue
AMP *
LAB PROCESSING AND

EDITING SUPPLIES
a few
your past panelists.
There
is
preliminary readers' cut, and the top
entries go onto a panel
usually no
The recommendations are made
more than
to staff
who
20.
begin
the negotiation process with producers. Past panelists
the
NEW YORK INDEPENDENT FILM SCHOOL

training a new generation of filmmakers
have included Jacquie Jones, independent
producer;
A.J.
Fielder,
independent;
writer; Paris Qualles, chair of the panel

for the
FOR MORE INFORMATION CONTACT
Greg Tate,
212-706-2225
and writer
past three years; Claire Aquillar, program
www.nyfilmschool.com
May
200]
THE INDEPENDENT
47
CPB;
/ yjuf o
VIDEO/AUDIO POST
film
Moore,
Chris
Pedlow,
program
officer,
age for funding productions
producer,
WQED;
Cheryl
fund
Sandie
ITVS;
director,
we
so
worthy projects and we
ail
are not able to
equal
try to give
Chisholm and Pearl Bowser, programmers; Jackie
consideration to the small independent as well as
Cain, KCET; Nolan Walker, independent producer;
to the larger
Massiah,
Louis
independent producer;
What
independent producer;
Bagwell,
budget projects.
Orlando
common
the most
is
mistake applicants
Readdon,
Cindi
make?
Not telling the
AVID
ing
/ XL 1000
Composer
may sometime
Film
and
history
Younger producers
rationale.
Media Composer 8000
but giv-
story,
much
too
not do thor-
ough research, thinking the

subject matter
3D
/Titles / Graphics
Experienced Editors
enough time
merits
not
taking
develop the
to
and the
story
itself
Also
support.
proposal
sample and budget does not
match the proposal.
Sound Design
Editing
Audio Syncing w/
Mixing
What would people most
Digital Pix
be surprised to learn about
SOUND STUDIO
Voice-Over/
ADR
Sound EFX
We
Library
WNET/TV;
DUBS & XFERS

632 B'WAY
(& Houston) 10012
212.473.3040
Guerro,
Manthia
Diawara,
and
writers
film
Clyde Taylor,
Tell
ly
stories
would love
from younger producers as
to get
more
We
well.
will
consider narratives as well as documentaries. And
we have
a sense of
humor even though we work
in
us about the review process.

is
a reader process, a panel process,
many
items
of the
manner; relevance
to
in
and a
Other foundations or grantmaking organiza-
men-
tions you
admire and why.
Not sure
know enough about the
a time-
community; potential
for
lot of
others to
comment, but
inner workings of
think that Creative
A J
<

2]
Juanita
critics/NYU;
tioned above, such as ability to complete
its
public television.
set of criteria that includes
T+F: (2
Ed
Anderson, independent producer.
There
STUDIO
and/or
founders?
Foleys
NBPC
the
254-1 106
on the national public television system;
airing
experience
E:studio4|@mindspring.com
crew;
of
uniqueness and
support from community;
creativity;
Capital does a lot of things
like,
with the artists through the
such as working
process,
including
marketing and promotion and exhibition and build-
etc.
V_
ing a
for
media
community
of artists,
and
their artists ser-
artists in
vices.
Discreet logic's

Write a proposal and treatment that
is
as
much
about the elements that make a strong compelling
edit*plus
story for television or film as
Combustion*
it
is
about the need
for
the story. Present a sample that demonstrates your
After Effects
do the story you are asking for support on.
ability to
Present a budget that

3/4", S-VHS, Hi8
you have
edit yuit&:
Meg- Hartley, Edit&r
is
realistic
and adds
up.
If
or no public television experience,
get those people with such experience on your
crew.
Create* Oris the* cornfbrtr
little
If
it's
a historical
documentary, make sure
What distinguishes the NBPC from other funders (besides
funding of African American
its
artists)?
We
work with the producers
try to
in
various stages
and we provide services other than funding, such

as training, information sharing and networking,
and distribution
of
some
ducers whose work
of the
we may
work. For those pro-
not fund,
we
provide
information designed to assist the producers
in
that there are adequate and appropriate scholars
making another application and improving the
involved. Having other funding on the project helps,
work.
particularly on a large budget.
Be clear that the
We
also have a festival
ducer's work, and
we
in
September for pro-
provide promotion and out-
ofctspr-CvcWe'
project has potential for the national public televi-
sion schedule but don't
Price
J fat tile IfiJtficrtJettt
only
about
heroes

In
the East Village
May 2001
documentaries
and
is
dead
reach services to producers once the project
is
completed, as well as technical assistance to help
them
figure out the
CPB/PBS maze.
contemporary stories are welcome also.
Famous
Bring
cases.
THE INDEPENDENT
heavy
public television
last
words:
Collaboration and partnerships help to expand the

story
48
assume
and
effectively
NBPC has
utilize
limited
resources
in
me
your best work. The work
is
everything.
many
dollars $600,000 aver-
Michelle Coe
Is
program director at
AIVF.

About AIVF and FIVF
advocacy for the
media arts
field
!i
of
member
Special
issues
technologies,
membership
a national
organization
of
over
profit
advertising
mention
and Film
(FIVF),
offering a
broad
slate of education


magazine, The Independent
of our
Film & Video Monthly, our
expanded
website, or
its
voice
collective
in
and auto
and
film
as
well
each
issue.
books
as
special
international
and exhibition
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first issue
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C^-"*-^)
ed as an avenue for filmmakers to exhibit their work
Scott Castle
by
theatrical setting for
festival

to cover date (june 1 for aug/sept issue),
following
send
meet minimum requirements: no
day
16mm, 35mm. Preview
on VHS. Contact: Doctober, IDA, 1551
CA 90035;
201, Los Angeles,
785-9334; ida@artnet.
nor 6 months
to,
Only individual doc films are
of festival.
Robertson Blvd.
S.
(213) 534-3600; fax:
www.documentary.org
net;
HEARTLAND FILM FESTIVAL,
[email protected]
to:
first
the
Academy Awards consid-
Cats: doc, short. Formats:
eligible.
in
created. Fest qualifies
broadcast or other TV airing anytime prior
include festival dates, categories, prizes,
info.
was
it
short length films for
eration as long as they
Ste.
entry fees, deadlines, formats & contact
&
feature
which
human
Oct. 17-25, IN. Deadline:
& respect
journey by artistically expressing hope
in
place.
stage. Separate
Doc projects may be
membership &
the treatment
in
entry fees apply.
35mm, 16mm,
(scripts);
Market, 104 West 29
465-8200
x.
min.);
add $50
St.,
$300
progress);
in
40 mm.); $325 (40-60
$275
$275
(shorts up to
(video library only);
for final deadline. Contact: IFP
12
107 (Market),
New York, NY 10001;
fl.,
x.
216 (No Borders);
May 18
1967
1981, the Bellevue Art
to
29, WY. Deadline: June
&
natural history, wildlife, conservation,
related topics.
must
Museum
hosted the
Living the Wild.
first
in
Wild
museum
WK
dramatic, erotic, subversive, animated and underground
fit
after Aug.
1,
|P
1998. Formats
'
jl
..
m.
given
Life!
ff
Film
May
a nat'l selection of
nity to
works made
for
TV & out-of-genre
Awards:
or genre.
"Best
incl. in
$20
Any
efforts." Cats:
and continue
3940,
St.,
Jackson
and
Hole,
WY,
83001;
130 min.) Contact:
program production techniques,
refine
seek new and more effective ways to promote
to
awareness and
and
sensitivity to the conservation of wildlife
around the world. Every other year the
wildlife habitat
way
gives
Entry
CA 94623;
LABORFEST: INTER-
Jackson Hole Symposium. See
to the
NATIONAL WORKING
festival
CLASS FILM & VIDEO

listing.
FESTIVAL,
July.
Deadline:
May
ing for videos for 8th
action
(live
&
25. Fest
showcases films made
indie filmmakers. Cats: feature, shorts
&
$20. Contact: CWFFVF, 188 Norfolk
St.,
up). Contact: HFF, Jeffrey
Artistic
200
Dir.,
COLUMBUS INTERNATIONAL FILM & VIDEO

Oct.
24-27, OH. Deadline: July
hff@
464-9405;
showcases
in
in
in
1952,
is
one
June 8
each (97 cats
in
&
(final);
June
5,
NY.
May
Deadlines:
&
Info;
18
(No Borders). Annual event
the longest-running U.S. market devoted to new, emergtalent.
Large focus on works
in
16mm,
bio
&
drama, animation
incl.
summary. Formats:
narrative
Beta, 1/2". Preview on VHS. Contact: Laborfest,
in all).
Divisions
Industry; Children
Humanities; and Science
&
fax:
695-1369; [email protected]; www.laborfest.net
projects looking for finishing funds (works-in-
BERKELEY, Oct 19-28, CA. Deadline: June
incl. Arts;
&
Selective
"Feature
Showcase" Market
&
5th annual competitive fest seeks works
(late).
& home
genre by or about Latino
Technology.
&
& abroad.
U.S.
the U.S.
in
&
int'ly.
in
July
any
Fest show-
festival pro-
cases
grammers from the

to best of cat;
15;
is
Youth;
video buyers, agents, development execs
Awards: Chris Awards go
Box 425584, San Francisco, CA 94142; (415) 282-1908:
LATINO FILM FESTIVAL OF SAN FRANCISCO/MARIN/
Cats: feature, doc, experimental, short, animation, script,

children.
Send video w/
doc.
development
13 major divisions w/
attended by over 2,500 filmmakers, distribs, TV

Education
race, sex,
economy. English
of
progress).
Entertainment; Business
capitalist
country. Accepts
(scripts)
about 10 cats
464-9409;
&
captions preferred. Open genres
ing film
corporate productions
fax:
Works should explore
& democracy,
pop.iquest.net; www.heartlandfilmfest.org
IFP MARKET, Sept. 30-0ct.
is
&
int'ly.
220,
Ste.
&
FESTIVAL,
&
Competitive fest with
1.
screenings of selected winners, founded
indie
environment, media, war
(early);
the older non-theatrical
Meridian,
S.
#6G, New
films can incl. union struggles, political strug-
gles of labor, locally, nat'ly
the connections between labor

Indianapolis, IN 46225; (317)
York,
San Francisco.
on VHS. Entry fees: $20 (under
$55 (50 min. &
&
Videos
Preview on VHS. Entry
digital.
in
the 1934 San Francisco
Formats:
dramatic feature.
for
16mm, 35mm. Preview
Sparks,
fee:
prize
doc.
50 min.)
35mm, 16mm,
Formats:
annual event held
commemorate
General Strike through cultural arts of working people.
$50,000 grand
women
call-
animation), doc. Prizes totaling $100,000;
CHICKS WITH FLICKS FILM AND VIDEO FESTIVAL,
May
31.
now
for the positive values of life." Cats: dramatic, children
Fest organized to
Aug., NY. Deadline:
is
CA.
273-1545; shelby@brain
(415)
washm.com; www.laughingsquid.com/brainwash
by
wbent@
www.jhfestival.org
LaborFest
Oakland,
E.
wyoming.com;
Box 23302,
BMF, Shelby Toland,
125
(307) 733-7016; fax:
under 13 min.), $50 (features, under
(shorts,
web
JHWFF,
Pearl
style
possible
of" collection for
Box
733-7376;
new equipment,
test
performance videos,
broadcast. Formats: VHS,

fees:
shorts,
Contact:
Wildlife
13-15 & 20-22, CA.
movie makers. Provides the opportu-
show "odd & obscure
site.
provides
nonfiction filmmakers
annual fest presents works from
15. 7th
Entry
on
avail,
Hole
broadcasters with an international forum to conduct business,

Deadlines:
Digi-
Entry fee: $75.
forms
The
world,
HD,
98004; (425) 519-0747; [email protected]

July
14 categories.
in
Festival
Jackson
'\.
WA
Bellevue,
the
are
Beta. Preview on VHS.
programming
ural history
around
preview: VHS, S-VHS. No entry fee. Contact: BAMFVF,
Museum, 510 Bellevue Way,
j.
&
5/31/01. Awards
Seeking to encourage nat-
BWHyy^S ^*M
works. 15 min. max, shorter works most welcome. Work
BRAINWASH MOVIE FESTIVAL,
be-
6/1/99
Formats:
and beyond. Cats: experimental, narrative, humorous,
Bellevue Art
have
been completed
present a program of film and video from the region
must have been completed
Sept. 24-
Fest seeks films dealing with
1.
tween
experimental/underground/independent film festival
&
465-
(postmark). From
the Northwest. Continuing this tradition, the

will
(212)
fax:
JACKSON HOLE WILDLIFE FILM FESTIVAL,
bellevue art museum film and video festival,

27-28, WA. Deadline:
$400
video. Preview on VHS. Entry fees:
$350 (works
(features);
Entries
July
appli-
All
cants must be current IFP or FAF members. Formats:
8525; [email protected]; [email protected]; www.ifp.org
June 15. Fest seeks features & shorts that "explore the
Domestic
should be
IFP Market
is
artistic or
educational films by or about Latinos
&
currently
2nd
expresses the cultural diversity

accepting submissions for the upcoming 23rd market
of all Latino countries
as
in
place Bronze Plaques, Certificates of Honorable Mention
a source of inspiration
& empowerment. Works must
the following cats: feature films (over 60 min.), short films
&
Silver Chris statuette (Best of Division) also
awarded.
have been completed

(under 60 min.), works-in-progress (edited scenes,
Formats: VHS,
CD-ROM. Preview on VHS.
Entry fees:
in
last
two years. Cats: feature,
trailer,
doc, experimental, animation. Awards: Best Short, Best
$75
intended for feature-length), script (copyrighted, for fea-
& up
(professionals);
$35-$50
Doc, Best Film by
(students). Contact: CIFVF,
ture-length
film).
accepting
Also
submissions
for
Borders Co-Production Market: feature length
Columbus, 5701
N. High St., Ste. 200, Worthington,
43085;
(614)
841-1666;
fax:
841-1666;
fiction
& doc
OH
films
in
development or
at
an early stage
to
apply.
Program
is
limited
Rights Award,
Film,
Human
Gay & Lesbian Award, Audience Award.
Formats:
16mm, 35mm,
fees: $25,
$35
1/2".
of production are
info@chrieligible
Women, Best Student
No
Joyce Long, Awards Administrator, Film Council of Greater
to
40
(late).
Contact: LFFM,
3100 Kerner
Blvd..
projects.
sawards.org; www.chrisawards.org
Ste.
G,
San Rafael. CA 94901; (415) 459-3530;
fax:
Producer/submitter must have track record with previous
456-0560; [email protected]; www.latino
DOCTOBER: INTERNATIONAL DOCUMENTARY FILM
work which received major
FESTIVAL, Oct. 15-23. Deadline: May 18. Fest was creat-
cal
distribution.
Approx
festival
25%
exposure &/or theatrifilmfestival.org
of
the
projected
budget
M.i\
2001
THE INDEPENDENT
49
^
LOS ANGELES INTERNATIONAL SHORT FILM FESTIVAL,
35th
New York EXPOsition
of
Short Film and Video

UNDER
.60
MINUTES
CA. Deadline: July
8,
5th annual test
1.
accredited, expanded 5-day event
N6w Vbrk
iEptry Forms:
sented by Filmmakers United, a nonprofit
EXPO,,
pre-
is
Academy
org.
over 100 short
incl.
must
films, panel discussions, film market. Eligible films
"...
movies."
Ave.
Awards: Award winners
eligible for
to
35mm.
Preview
$10. Contact: ORSFF, 1725 Westlake
WA
Ste. 202, Seattle,
98109; (206) 281-7788;
Deadlines: June 15; June 29
Academy nomination;
is
get drunk on
The
N,
fee:
281-7799; [email protected]; www.onereel.org
fax:
IL,
:r
remains a great place
on VHS. Entry
& Best
16mm,
each
in
13th annual fest
(late).
dedicated to the art of experimental film and video.
cat. Prizes
goods & services. Formats: 35mm,
incl. gift certificates,
Village Voice
Sept. 14-16,
drama, doc, experimental, comedy, music video.
tion,
Best American, Best Foreign
pithy, vibrant
2000. Awards: One Reel Breakthrough Award;
1,
Audience Choice Award. Formats: 16mm,
ONION CITY FILM AND VIDEO FESTIVAL,
.,'.
www.nyexpo.org
Jan
have been completed after 1/1/00. Cats: short, anima-
"(212)505-7742
.<;
e-mail: [email protected],-|.
;,/
Oct.
Awards: Cash prizes based on jury selections. Formats:
16mm, Super
VHS (NTSC
Preview on
8, video.
or PAL) or
Beta SR Preview on VHS. Entry fees: $25 (under

contact fest to inquire about submitting film prints for
40 mm.); $30 (40-60 min.). Contact:

Arentz, test
WW:
Festival:
November 2000 &,y3
CA
Los Angeles,
Alexandria Ave.,
N.
dir.,
Robert
LAISFF,
$35
preview. Entry fees: $25;
Chicago Filmmakers, 5243
90029; (323) 663-0242;
Contact: OCFVF,
(late).
Clark
N.
Chicago,
St.,
IL
663-0242; info@lashorts-
fax:
60640;
293-1447;
(773)
info@
293-0575;
fax:
fest.com; www.lashortsfest.com
chicagofilmmakers.org; www.chicagofilmmakers.org
NEW YORK LESBIAN & GAY EXPERIMENTAL
MIX:
FILM/VIDEO FESTIVAL,
Nov. 14-18, NY. Deadline: July
& gay
Longest-running lesbian
VAL, Aug. 7-13, CA. Deadline: June
NYC &
film test in
PALM SPRINGS INTERNATIONAL SHORT FILM
miere
int'l
venue
emerging
for
&
artists
w/
conjunction
In
MIX
PlanetOut,
year. Fest
Online Queer Digifest. Fest requests
all
2000
in
& non-student
cats
incl.
&
media plus media-based performance.
digital
MIX
Awards:
Awards:
Innovator
&
Award. Formats: VHS, Beta,
16mm, 35mm, super
8,
fee:
eligible
Yvette Choy, 29 John
St.
PMB
132,
New
York,
35mm, 16mm,
571-5155;
fax:
:?
1700
Tahquitz Canyon
E.
CA 92262;
Way,
Ste.
3,
Palm
(760) 322-2930; fax: 322-4087;
[email protected]; www.psfilmfest.org
NEW YORK ANIMATION

Deadline:
May
15. Fest
types of animation
is
FESTIVAL,
a
NY
14-20
Sept.
comprehensive forum
for
ROCKY MOUNTAIN WOMEN'S FILM FESTIVAL,
CO. Deadline: June 30. Fest celebrates "the drive, diver-
from film animation using tradition-
&
spirit of
women."
Cats: feature, doc, short, anima-
techniques to computer/digital work, from experimention.
tal
Nov. 2-4,
all
sity
al
&
Formats:
35mm, 16mm,
independently produced films by artists to animaEntry fee: $25.
tion intended for wider, general audiences.
Contact:
should have been
made
be entirely animated
cash awards
35mm,
&
in
New
260-0912;
fax:
16mm,
York,
Box 1513,
NY 10009; (212)
[email protected];
www.members.tripod.eom/~ nyafest/home.html
SACRAMENTO GAY AND LESBIAN FILM

CA. Deadline: June 15. Fest seeks film
FESTIVAL, Oct. 31-Nov.
Oct.,
video portray-
als, either positive or critical, of lesbian, gay,
Award. Formats: 3/4", 1/2",

entry fee. Contact: SIGLFF,
4.
FESTIVAL,
&
bisexual
&
transgender communities. Cats: open. Awards: Audience
Dr.,
NORTHAMPTON FILM
Oak Ct,
Awards:
action.
live
(student). Contact: NYAF, Matt Isaac, NYAF,
982-7781;
Laurel
(719) 226-0450; fax: 579-
5395; [email protected]; www.rmwfilmfest.org

incl.
Beta SR Preview on VHS. Entry fees: $30; $20
Peter Stuyvesant Station,
CO 80906;
previous two years, need not
& may
kind services awards. Formats:
in
RMWFF, 255
Submissions
Colorado Springs,
Beta SR Preview on VHS. No
$30; no entry fee for students. Contact:
www.mixnyc.org
SHORT FILM AND VIDEO
'
winner
consideration.
[email protected];
Springs.
"v. ".*.
cat. 1st place
NY 10038;
PSISFF,
571-4242;
each
in
Academy Award
$20. Contact: MIX,

entry fees:
(212)
(2nd)
for
SFormats:
VHS, 3/4". Preview on VHS. Entry
YORK
& $500
(1st)
Maker Award & Emerging Maker
Award,
becomes
EXPERIMENTAL
best of the fest. Awards: Cash prizes of
Award,
Producer
$1,000
Distributor
action (under 15 min.), live action (over
live
15 min.), doc
IEXPOI
or 2001. Student
audio/visual installations, cyber submissions of interac-
DOCUMENTARY*
& com-
accepts works no longer than 40 min.
genres, as well as
pleted
tive
com-
of the world's largest presenter of
present
will
animation,
one
short films, screening 250 films from 35 countries last
media.
AfflTMftYION
7th annual
experimental
IFnra c5
1.
prepetitive fest is
_^;;i
FESTI-
1.
CA 95630;
Folsom,
35mm.
Preview on VHS. No
Tom Swanner, 150 Parkside
(916) 605-1558; fax: 325-1993;
MA.
[email protected]; www.fairyflicks.com
Deadline: June 30. 7th annual fest
&
showcases
works screened at competitive, juried event.
Digital
/Analog

avail,
doc,
Film, Video
AVID
& Web Production
AND FINAL CUT PRO SUITES
AFTER EFFECTS
MOTION GRAPHICS
EXPERIENCED
IN
FEATURE LENGTH
on
site or
send
form
50-60
SIDEWALK MOVING PICTURES FESTIVAL,
works
AL. Deadline: June 15. 3rd annual fest presents
&
info,
s.a.s.e. Cats: feature, short,
Most Creative
experimental, animation. Awards:
Formats:
35mm, 16mm, Beta-SR VHS
VHS (NTSC).
Entry fees:
$25
(NTSC). Preview
(less than
30
min.);
$30
(30 min. to less than 60 min.); $35 (60 min. or more).

Contact: NFF, Northampton Film Associates,
Pleasant
web
after 1999. Entry
All
Cinematography; Best Feature; Best Doc; Best Short.
on
indie film
video from throughout N. America. Approx.
St.
586-3471;
Inc.,
#213, Northampton, MA 01060;

584-4432;
fax:
351
(413)
[email protected];
films for a
new audience. Program
Deadline:
3 3 4
8 2 8 3
May
Bumbershoot Arts
res of films up to
15.
Fest
Festival
is
held
during
and welcomes
30 min. Over 100
all
3,
WA.
Formats:
$30
days. Films should have been completed no earlier than
50
THE INDEPENDENT May
2001
Best Feature, Best Doc, Best
35mm, 16mm,
DigiBeta,
$20
(student).
Beta
Contact:
Birmingham, AL 35259;
SONO FILM AND VIDEO

part of
event
four
incl.
SR VHS.
(205)
SMPF,
Box
871-2927;
info@side walkfest.com; www.sidewalkfest.com
works
in
Awards
(shorts);
590125,
& gen-
films screened
new
incl.
Preview on VHS. Entry fees: $40 (features/screenplays);
Seattle's
styles
films
Student Film, Best Screenplay, Audience Choice Award.
CT. Deadline:
FESTIVAL, Aug. 31-Sept.
50+
seminars & workshops. Cats: feature, doc, short, student, script.
www.nohofilm.org
ONE REEL SHORT FILM
of
Sept. 28-30,
FESTIVAL, Aug. 4-5, Norwalk,
June 15. 2nd annual non-competitive fest
SoNo
Arts Celebration, a large
in historic S.
community
is
art
Norwalk. Seeks shorts (under 30min.)
of all types, especially
although longer works
may be
works
of
CT filmmakers,
considered. Films
shown
on large outdoor screen. Preview on VHS. Entry form
web
on
avail,
Box 600,
SUPER
S.
SIDESHOW,
nantly on Super
work
all
&
stock
&
entry),
Johnny or
VHS
Cats:
genre.
1522 Lafayette
#3,
St.
(final).
April
6-10.
Fest accepts
lengths shot on film,
all
animated mediums encompassing
feature,
animation,
doc,
short,
35mm, 16mm,
Formats:
S8S,
entry). Contact:
June 29
(early);
narratives of
video, digital or
Beta
$35
min.);
al
(features);
all
student.
SP.
E>1 n
KM
^^ |
/A
-
(shorts, under
$15
fees:
imm
30
$5
$25 (shorts over 30
min.);
off for
students; $10 addition-
Vn\
Y\
Box 7588 (mailing) or
for final deadline. Contact: TIFF,
Celebrating
of the
N.
96145;
Lake Blvd. Ste. 205 (shipping), Tahoe
581-5474;
583-FEST;
(530)
July 12-29, 2001
Honoring
Culture in
Great
Film
Plains
CA
City,
FESTIVAL DATES
Latino
Visions
405
Entry Deadline
June 1, 2001
ILM
$15
or mini-DV. Entry fee:
(303) 863-9235; www.thebrain box.org
1,
& doc
fictional
cash, film
incl.
TAHOE INTERNATIONAL FILM FESTIVAL,

Deadline: June
THE GREAT PLAINS
must be on tape & must not
c/o Brainbox,
Trish,
30.
looking for any
is
Awards
$2 (each additional
CO 80218;
Denver,
fest
narrative or otherwise.
supplies. Entries
one
presented by the Mary Riepma Ross Film Theater and the Nebraska Film Office
May
videos that were shot predomi-
2nd annual
film.
exceed 20 min. Preview on

(for
Arts Celebration,
July 14-16. CO. Deadline:
Fest seeks short films
&
SNFVR SoNo
Contact:
site.
Norwalk, CT 06856; (203) 226-8313.
info@tahoefilm
& Video
at this year's
festival
festival.org; www.tahoefilmfestival.org
TELLURIDE INDIEFEST,
Dec. 6-9, CO. Deadline: Aug.
(Enter early as entries limited to only 1,200; total of

films, videos
&
screenplays). Fest
casing the world's best indie films

res.
an
is
&
int'l
1
all
event show-
screenplays.
All
gen-
Screenplays should not exceed 120 pgs. Formats:
35mm, 16mm,
Beta
Contact Information
University of Nebraska -Lincoln
Phone: 402-472-9100
www.greatplainsfilmfest.org
Email: [email protected]
VHS. Preview on VHS Entry fees:
SP,
$55 (61-120 min./pgs), $50 (31-60 min./pgs), $45 (1130 min./pgs), $40 (1-10 min./pgs). Late entries
31) add $10. Contact:
Tl,
(July 1-
Michael Carr, Box 860, Telluride,
CO 81435; (970) 728-7230,
fax:
728-8128; festival
tellurideindiefest.com; www.tellurideindiefest.com
UNITED NATIONS ASSOCIATIONS FILM FESTIVAL,

25-28, CA. Deadline: June 20.
&
Stanford Univ., showcases doc films
human
UN-related issues;
war & peace,
UNAFF Jasmina
$25. Contact:
Quad
Bldg. 40, Stanford,
eligible.
Formats:
1/2".
3/4",
videos dealing w/
environmental survival,
genres & lengths
etc. All
35mm, 16mm,
rights,
Oct.
held at
film fest,
Int'l
Bojic, Stanford Univ.,
CA 94305;
Main
(650) 725-0012; fax:
725-0011; [email protected]; www.unaff.org
VIRGINIA FILM FESTIVAL,

1.
Oct.
25-28, VA. Deadline: July
Fest seeks independent works of
Submissions must
year. Year
2001 theme
identities are
35mm, 16mm.
VFF,
is
all
genres
&
lengths.
theme, which changes each
"Masquerades," on people whose
performances. Cats: experimental, feature,
animation,
doc,
relate to a
video
art.
Formats:
VHS,
CD-ROM,
Box 400128, 109 Culbreth Rd Charlottesville, VA
22903; 800-UVA-FEST/(804) 982-5277;
fax:
924-1447;
[email protected]; www.vafilm.com
WOODSTOCK FILM
Deadline: July
1.
FESTIVAL,
We're
20-23,
NY.
Annual nonprofit fest fosters an
inti-
Sept.
one stop
digital
video house
mate, reciprocal relationship between indie filmmakers,

industry reps
short,
& audience members.
music video. Awards
& Musical
score. Formats:
incl.
Cats: feature, doc,
16mm, 35mm,
Beta SR
DV
Preview on VHS. Entry fees: $20-$50). Contact: WFF,
Boxl406, Woodstock, NY 12498; (845) 679-4265;

(509)
479-5414;
&
Best Feature, Doc, Short

118 VA/est 22nd Street MYC 1001
1
fax:
[email protected];
212.243-8800
fax
691-6961
www.woodstockfilmfestival.com
Max AVI
THE INDEPENDENT
51
=-t-TV r> r /-'.
5-*-
,c] j
358 9 684 35 230; 358 40 532 6204;
Foreign
fax:
358 9 684 35
232; [email protected]; www.hiff.fi/
carrousel international du film de rimouski,

May
Sept. 20-27, Canada. Deadline:

test
aims
promote cinema
to
animation,
young people though
for
&
introductory
19th annual
16.
learning
film
activities,
IMAGE&NATION: MONTREAL'S INTERNATIONAL QUEER
Deadline: June
Fest
1.
20-30,
Sept.
& exchanges among
in
must
the film industry. Films
distribution
Canada &
in
the various
players
int'l
not have commercial
not screened
any other
at
in
Canada. 2000
200 works
edition of screened over
in
& Best
festival. Films
original version
must be dubbed
&
written texts of dialogue
&
Cats: long
film, actor, actress;
Jury
members
in
&
short
film,
are 14-17 yrs old
& from various coun-
film, short film, actor, actress;
16mm,
3/4".
CIFR, 92, 2e Rue Ouest, C.R 1462, Rimouski, Quebec,
Canada, G5L 8M3; (413) 722-0103;
724-9504;
fax:
[email protected]; www.carrousel.qc.ca
CORK FILM
FESTIVAL,
Founded
July 1.
in
in
gram
eclectic,
is
1956, aim
world cinema
the best
is
audiences
to "bring Irish
variety." Fest's pro-
in all its
new
bringing together
other forms of film

film. Entries
14-21, Ireland. Deadline:
Oct.
doc, short, animation
art, incl.
w/
films
int'l
&
exp.
must have been completed w/in previous
& must
yrs to be eligible for competition sections
have screened previously
Ireland
in
in
not
theaters or on TV.
Competitive for films under 30 min. Cats: short, feature,
Awards
doc, animation, experimental. Awards:
European &
int'l,
Formats:
35mm, 16mm,
Beta
Oil 353 21 427 17
Ireland;
in
B&W.
SR Preview on VHS.
10 Washington
Contact: CFF, Angela Jones,
for best
also for shorts
Irish shorts;
11; fax:
St.,
Cork,
353 21 427 59 45;
Deadline:
FILMFEST,
May
25-Aug.
July
21. 15th annual fest
held
is
Germany.
Munich,
Cologne.
(Frankfurt,
Hamburg) and accepts
35mm
Stuttgart,
Berlin,
features
&
shorts
following cats: science fiction, horror, thriller
H2W
Quebec,
&
in
the
$25
return
(for
Entertainment;
Fregestr. 36,
of
Contact:
tape).
Veranstaltungs
12161
Rosebud
GMBH,
Medien
Germany; Oil 49 30 861 45
Berlin,
LOCARNO INTERNATIONAL FILM

gram
maker
of the present, retro section,
of
moviegoer's paradise, aiming
filmmaking;
stunning, controversial films
tomorrow. Fest
Best
of
&
visually
American
Cinema,
Inde-
Lesbian, Fantasy films, Experimental
and Modern Doc & Animation. Under the
flag of
"Love and Anarchy" we also harbor the strange & the

offensive, as our responsibility
breaking films
&
to
&
professionals. Cats: gen-
Awards: none. Formats: 16mm,
VHS. No entry
promote ground-
the diversity of modern filmmaking to
Finnish audiences, industry

eral.
is
fee. Contact:
35mm.
Preview on
HFR Pekka Lanerva,
Dir.
of
Programming, PO. Box 889, Helsinki, Finland 00100;
52
THE INDEPENDENT
We
new Swiss cinema &
representative of "Young Cinema" (1st or 2nd features)
&
"New Cinema"
in
May 2001
1999.
professional films, grad
first
undergrad films, secondary
accept
level films, best
techniques. Awards: cash and/or
all
16mm, 35mm,
1/2", Beta SP.
Preview on VHS. No entry fee. Contact: SAFO, 2 Daly Ave.,

Ottawa, Canada
Ste. 120,
filmmakers innovating
(films by estab.
KIN 6E2 (613) 232-8769;
fax:
232-6315; [email protected]; www.awn.com/safo01

and content & works by directors
film style
film industries).
Leopards
& works from
films
completed
w/m
Tomorrow
or
emerging
ST.
film schools. Entries
must have been
VIDEO FESTIVAL,
previous
Films which have
yr.
& preferences
for
FIAPF
prizes
ineligible for
sections given to world
all
European premieres. 2 reps
won
of
each competition
film
will
be fest guests for 5 days. Over 250 prods shown each
yr.
Covered
1000
by
from
journalists
35mm, 16mm,
Formats:
JOHN'S INTERNATIONAL WOMEN'S FILM AND
devoted to short
at other int'l fests recognized by the
competition
in
is
of
31
countries.
May
17-21, Canada. Deadline:
Oct.
31. Non-competitive fest seeks films
women.
Cats:
Formats:
35mm, 16mm,
& videos made by
animation, feature,
experimental,
1/2".
doc.
$20 (Cnd). Contact: SJIWFV, Box 984,
Canada A1C 5M3; (709) 754-3141;
St. John's,
NF,
754-3143;
fax:
www.womensfilmfestivl.com; [email protected]
videos for "Filmmaker of the
UPPSALA INTERNATIONAL SHORT FILM FESTIVAL,
Present." Cats: any style or genre.
Awards
incl.
Oct.
Golden
22-28, Sweden. Deadline: June 29. Fest, established
Leopard together w/ Grand
Prix of the City of
'82,
40,000; approx. $24,000)
best film
to
programs more than 200
approx.
20,000;
&
$12,150)
in
chil-
incl. retros, exhibits
3rd
must be under 60
& semimore
min., produced no
Prize
to fest. Cats: All categories,
max. 60 min.
Awards: Grand
25,000 SEK
the "Young Competition"
Any
35mm, 16mm.
20,000). Formats:
& docs &
"New Cinema comthan 2 yrs prior
(Silver Leopard) for a film
shorts
int'l
competition; 2nd
in
dren's films. Program also
(SFr.
in
Locarno (SFr
style
or genre.
Prix,
Preview on VHS.
(approx $ 2,845), special Jury Prizes, Audience Award,
No entry
fee. Contact: LIFE Irene Bignardi, Dir., Via Luini
Best Children's Film Award. Formats:
CH-6600 Locarno,
3a,
35mm, 16mm.
Switzerland; Oil 41 91 756 2121;
No entry
Preview on VHS.
U1SFF,
Contact:
fee.
Garnert, RO. Box 1746,
MIFED,
Oct. 28-Nov.
annual event
is
one
Italy.
1,
distribs.
27
film theaters,
&
Deadline: June 22. 68th
markets
of the biggest int'l
Over 80 countries, 2/3
films.
all
for
TV &
of participants are prods.
46 18 12 00 25;
&
VENICE INTERNATIONAL FILM FESTIVAL, Aug. 29-Sept.
booth space. Facilities
incl.
space. After June 22 office space
is
8, Italy.
Deadline: June 30. Fest
gious
the world
Multimedia. Formats:
in
fax:
several
int'l
one
most
of the
sections, each
two
prints
35mm, 16mm,
subtitled into Italian for presentation;
MIFED
Sections
incl.
Cinema
of the
Present,
Dreams &
Italy;
New
Territories (experimental), Corto-Cortissimo
39 02 499 77020;
non-animated
films,
max. 30 min.). Cats: feature,
[email protected]; www.fmd.it/mifed/
doc, short, animation, TV,
FESTIVAL, Aug. 23-Sept.
Canada. Deadline: June 22

Only competitive fest
N.
in
77, large &
Founded
in
ences
of
over 300,000
cats:
Official
(shorts); July 10 (features).
known
fest boasts audi-
& programs hundreds
Competition
3,
America recognized by FIAPF.
int'ly
(features
&
of films. 9
shorts);
World
Greats (noncompetitive); Focus on One Country's Cinema;

Latin
American Cinema; World Cinema: Reflections
Time; Cinema of Tomorrow:
New
Trends;
ada; Films for TV; Tributes. Features
70mm
or
35mm,
prod
in
their
works
(short,
MONTREAL WORLD FILM
presti-
w/
regulations. Italian premieres only. Accepted
Visions,
12912;
w/
subject to
Paola Mercalli, L.go Domodossola, 2-20145 Milan,
02 480
is
commer-
req.
39
46 18 12 13 50; info@shortfilm-
fax:
festival.com; www.shortfilmfestival.com
must be
Oil
S-751 47 Uppsala, Sweden; Oil
more than 9.000
with Dolby,
3/4". Preview on VHS. Entry fee: Varies. Contact:
be
Asa
41 91 756 2149; [email protected]; www.pardo.ch
highlighting the talents of
a combination of different strands:
Young European
pendents, Gay
Vision,
is
&
inventive,
under 12,
Fest
1.
after July
reserved for fiction features
is
own
20-30, Finland. Deadline: June 30. Non-competitive fest
artistry
yr.
sculpture prizes. Formats:

film market. Competition
availability. Cats:
promote
FESTIVAL, Aug. 2-12,
made
seeks animated films & videos
school.
cial office
to
FESTIVAL, Oct. 18-21, Canada. Deadline: July
competition, Piazza Grande screenings, film-
incl.
online.de; www.fantasyfilmfest.com
into a
SAFO: OTTAWA INTERNATIONAL STUDENT ANIMATION
Cats: children
square mt. exhib
transforms Helsinki
285-
fax:
films, first
32; fax: 49 30 861 45 39; rosebud_entertainment@t-
HELSINKI FILM FESTIVAL: LOVE AND ANARCHY. Sept.
848-3886;
fax:
Switzerland. Deadline: June 15. 54th annual fest's pro-
killer,
entry fee;
FF,
Canada H3A
Montreal,
St.,
848-3883/848-9933;
(514)
Montreal,
1Y7 Canada; (514) 285-4467;
must be
action adventure. Film
German premieres. Preview on VHS/DVD. No
1432 de Bleury
Dir.,
fee.
1562; [email protected]; www.image nation.org
fax:
&
animation, fantasy
#404,
Contact: l&N, 4067, Boul. St-Laurent
(SFr.
cities
Fest
2J1;
entry
[email protected]; www.ffm-montreal.org
German
in six
cats
in all
3/4." Preview
SP
Beta, Beta
CD-ROM. Preview on VHS. No
1/2",
nars. Entries
22,
1st features
all
70mm, 35mm, 16mm,
Formats:
genres, formats
70mm, 35mm, 16mm,
lengths. Formats:
petiton"
FANTASY
of all
Prize (Silver Leopard) for a film in the
[email protected]; www.corkfilmfest.org
&
de Montreal to
Prix
on VHS. No entry fee. Contact: MWFF, Serge Losique,
3/4",
Awards: Best long
awards
jury
director of 1st fiction feature;
other film professionals. Open to works
produced by &/or for queer audiences
&
short (informa-
&
mers, distribs
French or English.
Humanitas Award & Public Award. Formats:
35mm,
in its
by the
Humanitas award & public award.
Awards: Best long
tries.
narration
short (competition), long
retro &/or tribute.
tion),
French or
in
& accompanied
w/out subtitles
Best
Screenplay. Shorts compete for 1st
Second
Prize.
eligible.
Quebec
Prix of
Prix of Jury,
offers a wonderful oppor-
showcasing work & also networking w/ program-
tunity for
35mm &
85
2nd
programs from 17 countries. Fest
Best Film; Special Grand
or
Grand
incl.
largest queer festival
Director
screenings
70mm
must be
Canada.
to
not
film fest (unreleased
int'l
15 min. Awards
not exceed
Americas
&
the oldest
is
any competitive
in
films given priority). Shorts
must
FILM AND VIDEO FESTIVAL,
&
released commercially outside of country of origin
entered
in
of
Our
Panorama Can-
competition must
12 months preceding
fest, not
incl.
retro,
experimental.
Awards
Golden Lion for Best Film, Special Prize for Best
Director,
Best Script, Best Actor, Best Actress. "Marcello
Mastroianni" Award for Best Young Actor or Actress.
Golden Medal of the
16mm,
Italian
Senate. Formats:
35mm,
Beta SR (experimental film sections also accepts
BVU & Betacam
video). Preview on VHS.
Contact: VIFF, La Biennale
CaiGiustinian-San
di
Marco, 30124 Venice,
Oil 390 41 521 8711;
fax:
No entry
fee.
Venezia Dept. of Cinema,

Italy
30124;
390 41 522 7539; das@labi-
ennale.com; www.labiennaledivenezia.net
C^^T)
members are
listed

&
rent synopsis writing
would make an agent, producer, or
length and makes no guarantees about repeti-
development company
tions of a given notice. limit submissions to 60
synopsis of screenplay you've already written, or one you
space
as
the
permits.
how long
two months prior to
words &
indicate
direction as to
sit
up
&
&
To give
charge
of
free
whether your cur-
7775 Sunset
(e.g.,
june
PMB
Blvd.,
#200, Los Angeles, CA 90046; (323) 654-5809;

[email protected]; www.scriptapalooza.com
take notice. Enter 1-page
SLAMDANCE
SCREENPLAY
COMPETITION
2001:
intend to write. Judges evaluate synopses on originality,

marketability
&
cleverness. Contestant receive personal-
purchased, or produced (see entry form for other
cover date
May
hr episodics accepted. Entry fee: $35. Deadline:
15. Contact: Scriptapalooza TV,
for aug/sept issue). com-
ized
rules).
each synopsis entered.
of
Prizes incl. cash, software, plus submission to a major
plete contact info (name, address & phone) must
Winner receives free copy
of Final Draft, plus free script
literary
independent
to:
detail of
Slamdance
Deadline: July 23. Contact: Larry Hansen,
notices,
304 hudson
fivf,
6th fl,
st.,
ny 10013.
ny,
month.
Only
online
accepted.
entries
Contact:
Screenplay
we try to
be as current as possible, but double-
$40-$50.
fee:
screenplay of choice. Deadline: last day of every

Competition;
466-1786;
(323)
466-
fax:
[email protected]. au; www.thesource.com.au

1784; [email protected]; www.slamdance.com
VIDEO CONTEST FOR COLLEGE STUDENTS
is
spon-
Competitions
sored by The Christophers, a nonprofit media org.
theme
ACCOLADES TV SCRIPT CONTEST:
Screenplay competi-
ematic quality
&
"One Person Can Make a Difference." Cash
is
superior writing. Winning entries consid-
$6,000
prizes totaling
designed to provide outlet for emerging talent &
tion
undiscovered screenwriters
in
increasingly impenetrable
nationwide
Awards:
$45.
$500;
2nd,
$2,500;
1st,
3rd,
&
judges include agents, managers
Finalist
pilot,
1/2 hr sit-
June
Deadline:
Contact:
30.
145 Broad
Director, Nat'l Screenwriting Competition,
"Christopher
the
via
TV
Closeup"
$250.
series.
other industry executives. Cats: 1/2 hr
be awarded. Winning entries
will
ered for possible production or development. Entry fee:

aired
industry.
The
evaluated based upon concept, structure, character, cin-
New
Deadline: June 15. Contact:
12 East 48th
NY 10017; (212) 759-4050;
York,
St.,
838-5073;
fax:
St.,
[email protected];
com,
drama &
hr pilot, 1 hr
long form. Cat. winners
Matawan, NJ 07747; (732) 583-2138,
receive $300. Grand Prize: $2,500. Entry fee: $35-$50,
[email protected];
depending on format. Deadline: Aug. 30. Appl.
www.nationalscreenwrit
2118
avail on
web
site.
Ste.
160B, Santa Monica, CA 90403; info@American
Contact: Accolades TV,
Wilshire Blvd.,
Accolades.com; www.AmericanAccolades.com
FILM
promote screenplays set
in
Arizona to Hollywood creative
community. Nat'l competition for
original feature-length
85%
screenplays (90 min., 130 max. pgs).
must be authentic
locations
req'd.
To
of screenplay's
AZ. Industry standard format
Screenplays that are currently optioned or have been
previously sold or produced are ineligible. Awards: $1,000
Cox Communications Award, industry meetings, pro

notes
&
INDEPENDENT
OHIO
entries
for
Call
Founded
Screenplay Awards.
1973, The International Film and Television
in
Workshops, located
for
All
in
scenic Rockport, Maine,
the world's
is
largest educational center in film, television, video, photography,
genres accepted. Prizes
and
$1,000, screenplay
incl.
reading
at
in
digital
media, offering nearly 300 one and two-week work-
shops throughout the summer and
Ohio
the
fall.
Each
almost 3,000
year,
working and rising professionals and serious amateurs come from
Nov, submission to
around the world to master their craft and advance their careers.
script
other donated prizes. Entry fee: $40. Deadline:
566-7336;
FILM SCHOOL CONFIDENTIAL!
ing.com
SCREENPLAY AWARDS:
ARIZONA SCREENWRITING COMPETITION:
IN
fax:
May
The faculty includes prominent profesj
Conatc:
15.
Competition,
85012;
Wendy
3800
In
AZ Screenwriting
N. Central Ave., Bldg. D, Phoenix,
280-1380;
(602)
Film
Carroll,
sional photographers, filmmakers, cin-
AZ
ematographers, and visual
280-1384; film
hotline:
azcommerce.com; www.azcommerce.com/mopic.htm
GORDON PARKS INDEPENDENT FILM AWARDS:
The
Independent Feature
5th
annual awards
for
Project
(IFP)
length screenplays, fiction
&
the
skills
artists,
and expertise.
outstanding achievement by emerging
Black independent filmmakers.
films
presents
share their
&
Eligible
cats:
feature-
Conferences
doc. feature films, short
Workshops
feature works-in progress. 2 winners, a screen-
institute of videography's annual conwriter
&
director, will
be selected to receive $10,000.
Finalists are also invited to participate in IFP
VENTION & TRADE EXHIBITION, May

LA
30-Oct
Entry fee: $40. Deadline: June
5).
1.
literary
agent
&
subscription to SCR(i)PT magazine.
$40 per screenplay (postmarked by May
$60 (postmarked by June
HEART OF FILM SCREENPLAY COMPETITION

peer recognition, education opportunities
ry,
15);
465-8525; [email protected]; www.ifp.org
Cats: adult
&
&
provides
exposure.
family comedy. Prizes: $5,000 per catego-
airfare (up to $500),
accommodations (up
VIP pass to attend 2001
to
Austin Film Festival
$500),
7th
St.,
Entry
fee:
$40.
Deadline:
1).
Contact: OIFF,
OH 44113;
Cleveland,
(216)
latest technology
&
services
Event includes
in
DV pro-
video production community: from web-streaming video

to
&
at addressing the
panel discussions on
comes non-members &

tration service
&
all
needs
of today's
key business topics. IOV wel-
offers free convention pre-regis-
convention info via
web
Contact:
site.
Created to recog-
Oil 44
20 8502 3817; www.iov.co.uk
(0)
15.
must
schedule of seminars &
workshops aimed
RHODE ISLAND INTERNATIONAL FILM FESTIVAL

SCREENPLAY COMPETITION 2001:
full
2273 West
& AFF
May
duction.
781-1755;
OhiolndieFilmFest@ juno.com; www.ohiofilms.com
nize creativity, innovation
Bronze Award.
showcases the
Contact: IFP
Entry fee:
fax: (212)
2-3. Event
Market (Sept
not have been sold or optioned prior to entry. Entry
INTERNATIONAL FILM AND TELEVISION WORKSHOPS
Contact: 1-800-310-FEST; www.austinfilmfestival.com

fee:
$30. Grand Prize: $2,000
in
cash & prizes plus
staged reading of work. Deadline: June
TION supports
Box 162, Newport,
quality scripts from
around the world.
Character driven, feature length, standard format scripts

accepted. Grand prize: $1,000
sional actors
Contact:
&
&
a scene shot
Rl
Contact: RIFF,
1.
02840; (401) 861-4445;
fax:
847-
offer
total
offered
SCRIPTAPALOOZA TV SEMI-ANNUAL COMPETITION:
GLAdams
Scriptapalooza TV
Enterprises,
1626 North Wilcox
was
created to open a
new door
Film
the aspiring writer
& expand competition arena
wider spectrum of writing opportunities.
Pilots,
equipment
campus
&
in
in
of lead-
Rockport,
film expeditions are
Tuscany, Provence, Mexico, Cuba, Martha's
Norway &
Peru. Contact: International
for
Ave.,
#382, Hollywood, CA 90028; www.finalcutcontest.com
in
Vineyard, Greece.
1.
latest
ing professionals. In addition to the
Maine, workshops, courses, photo
7590; [email protected]; www.film-festival.org
w/ profes-
hands-on training with the
immersion atmosphere under the guidance
to incl. a
ME
& TV Workshops, Box

04856;
(207)
200. 2 Central
236-8581;
fax:
St.,
Rockport.
236-2558; info@
sitcoms
TheWorkshops.com; www.TheWorkshops.com
M.,\
2001
THE INDEPENDENT
53
NEW MEDIA WORKSHOP:
"Crossover:
Filmmakers"
Innovative
for
an
is
New
Opportunity
intensive
Edmund
Varuolo,
&
020206,
Staten
shop/retreat bringing together independent filmmakers
new media
& reshape
professionals to re-image
media on the
aged. Guaranteed exposure
work-
digital
NYC
the
in
2droogies
c/o
NY
Island,
area. Contact:
Box
productions,
ed@
10302;
2droogies.com; www.2droogies.com
VHS

& "new media"
storytelling
&
workshop
scheduled
is
media submissions
digital
Artists qualify for
POETRY VIDEO
explored
be
will
Culture/American Culture Congress
&
18-20. Scholars
Popular
the
at
Puebla, Mexico, Oct.
in
new ways
present
artist
of thinking
about poetry video. To present a paper on poetry video at

the Congress, submit
150-200 word abstract
via email. To
[email protected]; www.udlap.mx/congress
int'l
offline
&
incl.
non-
additional license fees for
online sales. Looking for short narrative,
New
may
ed
&
continue on to nat'l
S-VHS (NTSC
phone
int'l
Works
made
VHS
web
preferred) labeled
w/ name,
length,
and any support materials
title,
or
319-2910
#313-A,
Ave.,
Seattle,
&
Tax
MOVIEPALOOZA: (Aug 22-Sept

99-seat theatre
series at
No entry
shorts.
x. 9.
Contact: Seth Thompson,
[email protected]; www.wigged.net
New
local
York City TV show,
& music videos from
98121; (206) 568-
touring program that looks to pro-
&
together works that
imentations
artists in
around the world. Event brings
shows current preoccupations-exper-
& expose them
new &
in
Student works are welcome,
poetic vision.
fees are
artist
in
video
Publications
&
FELIX, a journal of media arts
May
Deadline:
fee.
&
Indie film
8)
NYC. Seeking features
Contact: Joe
15.
&
voyeurism
paid for
NY GALLERY VIDEO LOUNGE seeks video

makers
for 1-year installation
doc, exotic
& DV works
opening
301 Bedford
Gallery,
&
Canada & abroad
starting in late
film-
Monk
NY 11211; (718)
FERENCE
be presented
will
Preview on VHS, Send CV, videography,
1st.
to:
42025
At Perete de Signal, Box
OCULARIS
provides weekly forum for filmmakers to
artist state-
Sunday
H2W
Quebec
Montreal,
Works under 15 mm. considered
for
works considered
for
night screenings; longer
Topics discussed by
financiers
int'l
2T3
Canada-
&
All
work considered
L.A.:
&
Ongoing
call
docs, of 5-60
submissions
for
mm.
cast on LATV. Latino filmmakers
&
in all
short
of
genres for broad-
films about the Latino
experience are encouraged but not required. Non-paid
submissions.
Cinema
Tapes
not
will
LA, c/o LATV,
returned.
be
Contact:
Contact: Ocularis, Galapagos Art
70
4, a quarterly
open
DUTV,
progressive,
nonprofit
access
All
&
SR
lengths considered. Will return tapes. Beta
VHS &
VHS
3/4" accepted for possible cablecast
in
genres
DV,
S-
& webcast.
for preview. Contact:
Debbie Rudman, DUTV, 3141
Rm
4026, Philadelphia, PA 19104;
Chestnut
St.,
Bldg 9B,
tory
FILM
STUDENTS CALL FOR
Awards Student Film

through July
1.
Cash
Festival
prizes
&
ENTRIES:
Screenings
will
be
in
FILMS/VIDEOS WANTED
for
Warner (public access TV)

tled:
SNACK-ON-ARTS.
in
script
indie
submissions
missions must
incl.
screened
Freedman, Asst.
Prof.,
777 Glades
Boca
Rd.,
access show now
of color,
2nd season.
seeks
genres &
All
&
& $10
edy, dramatic, erotic

fall
54
& animated works
season. Controversial
& subversive
THE INDEPENDENT
The Independent
IPA,
2390 Mission
St.,
#201, San
Francisco,
to:
CA 94110;
THE JOURNAL OF FILM & VIDEO seeks

of Univ. Film
&
inclusion
journal.
Video Assoc,
member
written reviews
films tor possible
in
to:
Temple
Send approx.
Univ., Dept. of Film
double-spaced
& Media
Hall,
Philadelphia,
14E
Arts,
PA 19122; (215) 204-
scripts
PBS
LIST,
staged
in
association
site.
all
actors,
Online artists' co-op offers free
technicians
&
orgs,
searchable database, free email address
in
list-
directory
& use
&
of bul-
Jim Lawter, 37 Greenwich
letin
board. Send s.a.s.e.
Ave,
#1-6, Stamford, CT 06902; www.8xl0glossy.com
to:
St.,

RADIO ARTISTS (ACTRA) announces new program
supports
indigenous
Canadian productions
that
& aims
ACTRA
to
repre-
for int'l short films, airs

all
genres, 30 sec. to 19
w/ Kodak Worldwide
Independent Filmmakers Program & Cox Channel
web
ing for
stations. Licenses
Produced
8X10GLOSSY.COM:
quarterly.
NY 11217; (718) 670-3616; ighmul
showcase
Funds
sents over
16,000
across Canada
pendent
film,
& wishes
TV & commercial performers
to bring
these performers to inde-
film. Contact: Indra Escobar,
(877) 913-2278.
4. Five
Contact: fax: (619) 462-8266;
BAVC announces
for entries,
in
Artist
Equipment Access Awards
postproduction grants for video or
call
new
in
material encour-
2001
To
Press provides diverse contacts. To order, send check
media
projects.
com-
for inclusion in
May
you need. For $24.95 (plus
(check/m.o.).
[email protected]; www.theshortlist.ee
looking for experimental, narrative,
of the editor
Resources
Kodak product grants awarded annually. Submit on VHS.
TV: Cutting-edge cable

is
new
Brooklyn's original
[email protected]; www.ighmultimedia.com
min.
IPA's
magazine world can give you the
[email protected]
filmmakers
for
synopsis, bio
monthly
Ste. 139, Brooklyn,
nat'ly on
submit your work.
drag,
Contact: Sheryl Ellison, IGH Multimedia, 655 Fulton
Appl. avail, on
5th year,
San
about program's his-
THE SHORT
enti-
[email protected]
INDUSTRIAL
the
in
St.,
Dept., FL Atlantic Univ.,
15 min. max. Contact: Box 050050, Brooklyn, NY 11205;
its
IFFCON, 360 Ritch
$3.05 S&H) Annotations: A Guide
pages
Incl. info
Raton, FL 33431; (561) 297-2534;
Films
name & number
academic press book on queer
incl. in
distribution. Contact: Eric
weekly art program on Time
Artists please
bi.
formats welcome. Film (submitted on VHS) & script sub-
Angelus
gifts.
&
&
CA 94107;
Francisco,
Annenberg
Comm.
film
(215) 895-2927; [email protected]; www.dutv.org
seek public
community programming.
channel
Philadelphia, seeks works by indie producers.
to:
film.
"Pitch
(415) 634-4401; www.indypress.org
com; www.ocularis.net
Complex Studios, 2323 Corinth
& Performance Space,
NY 11211; oculans@billburg.
N. 6th St., Brooklyn,
trans subjects, for

Ave., Los Angeles,
incl.
for online exhibitions
Open Zone
other special projects.
forum, also exhibits emerging, non-commercial work.
CINEMA
producers
directory to the indie
[email protected]; www.perte-de-signal.org
films, videos
&
INDEPENDENT PRESS ASSOCIATION: The
succ. Jeanne-
group shows.
Mance,
North
is
in
exhibit their work.
ment
IFFCON
America's premier financing event for independent
Perfect"
2001. Deadline: June
fall
Cover
risks of watching.
219-0951; www.standby.org
IFFCON 2001-INTERNATIONAL FILM FINANCING CON-
fee). Contact:
Ave., Brooklyn,
&
the pleasures
Political,
in July.
are encouraged, but not exclusive
Send VHS & $5 check (catalogue
to.
artists
& communication. The new
issue "Voyeurism" explores complex nature of topics of

selected work. Selected digital videos
17 min.
min. to
Contact: [email protected]
www.shadowofdeath.com/moviepalooza
mote & dissiminate work from emerging women

arts from Canada
looking for
is
Inc.,
price is $15. Contact: (212)
media
visit
(330) 375-0927;
photos.
incl.
Murphy, (212) 765-1721; [email protected];
Tapes Wanted
CARTE BLANCHE: A
seeking innovative
web. Deadline: ongoing. For details
for the
site.
short films
WA
is
seminars
offer
& more. Reservations must be made.
fax:
& experimental new media works, animation & videos
select-
Submissions not returned. Contact: Microcinema,
2318 2nd
Films
NY 10018; (212) 947-9277;
York,
WIGGED.NET, a bimonthly webzine,
venues. Submit
alternative, dramatic, erotic, animation, etc.
6051; [email protected]; www.microcmema.com
Contact: (212)
director's
WOLFTOOB,
Maria Chamberlain,
original poetry video, contact:
Exemption"
&
Sherae Rimpsey, 545
www.weblab.org
info:
exclusive distribution deal,
submit
tapes. Send submissions, film synopsis
Eighth Ave.,
More
July.
narratives,
of
be covered. Preliminary appls. due mid-
will
docs,

15 min. or less on an ongoing basis for monthly screening
modations
length
bio to: Third World Newsreel, Attn:
2002. Travel & accom-
for Feb.
&
feature
is
5-day
interactivity, the first
&
&
race, class
&
short
of
of political
Designed to combine "old media"
Internet.
missions
experimental

media organizations
in U.S., is
BAVC takes
Award: $2,000 grant for equipment use.
special interest
in
video artists working on
seeking film
&
video sub-
projects
in
association w/ community groups or about
community
issues. Deadline: May. 21. Contact: Michella
Rivera-Gravage; [email protected]; www.bavc.org
COMPOSER
CONTACT
Harvestworks
Digital
CATALOGUE:
ONLINE
NY from June 15-22. Awards cover

$700
full
incl.
transportation. Deadline:
Somi
Roy,
Int'l
New
York,
registration fee of
May
28. Contact:
Rm
Film Seminars, 198 Broadway,
NY 10038; (212) 608-3224;
L.
1206,
608-3242;
fax:
to learn
commissioned
to write
&
record compositions for various

bio
Contact:
avail.
info
LATINO PUBLIC BROADCASTING supports development, production, acquisition
of Latino people or
DIGITAL MEDIA TRAINING SERIES (DMTS)

training series for film,
&
distribution of
mercial cultural TV programming that
cc@harvestworks; www.harvestworks.org
DVD-based
incl.
collabora-
in
or 2 leading scholars. Institutes provide inten-
&
sive study of texts, historical periods
ers of undergrad humanities. Info
&
ideas for teach-
appl. materials avail,
from project directors. Contact: (202) 606-8463; sem-
more about composers who can be
MP3 samples &
projects.
Seminars
w/
Media Center presents interactive

[email protected]; www.flahertyseminar.org
database
ers.
tion
noncom-
representative
of interest to Latino
NEW DAY
FILMS, premier
distribution
co-op
for social
issue media, seeks energetic independent film
makers w/
&
a video
is
addresses issues
is
[email protected]; www.neh.gov
Americans. Emerging fund guidelines: Latino content
atrical
accessible to a general audience, two 30 sec. or one 60
Contact:
markets.
TV & web developers.
&
video-
social issue docs for distribution to non-the-
Now
New Day
membership.
accepting appl. for
Films,
22D Hollywood
Ho-Ho-
Ave.,
Series provides high-end training tools that improve prosec.
&
ductivity
feature the latest topics
&
only,
max budget
of
$5,000 & 5 month timeframe requirement. Deadlines:

technology, giving viewers
May
access
emerging producers
spots,
Kus, NJ 07423; (415) 383-8999;
www.newday.com
creativity for the end-user. Training episodes
to
&
working professionals
(emerging fund); June 4 (general open
&
LPB,
Contact:
Rafael, (877)
NEWENGLANDFILM.COM:
6777 Hollywood
Ste
Blvd.
Online resource providing film
call).
Contact:
experts.
video professionals w/ searchable industry directory,
Los
500,
listings of local events, screenings, jobs, calls for entries,
CA 90028; (323) 466-7110;
Angeles,
466-7521;
fax:
upcoming productions, filmmaker interviews & industry
www.digitalmediatraining.com
[email protected]; www.lpbp.org
DOCUCLUB
news. Reaching over 20,000

helps filmmakers
in
the making of their doc-
MEDIA GRANTS AVAILABLE TO ORGANIZATIONS

umentaries
screen
&
by
providing a
offer feedback.
supportive
DocuClub
is
community
NEW
Experimental TV Center provides support to
doc.
media &
electronic
film
artists
&
orgs
in
NY
&
visitors
each month.
All arti-
listings
NEWPROJECT.NET
provides resource for producers
in
State.
member-
rough cuts for monthly screenings. Send $40
cles
to
YORK STATE:
now accepting
IN
search
of partnerships,
financing
&
distribution for pro-
Presentation funds provided to nonprofit orgs. Deadline:

ship fee (payable
to:
The Four Oaks Foundation)
DocuClub, 635 Madison Ave,
16th
fl.,
jects. Online
to:
database
development, pro-
of projects in
ongoing. Media Arts Tech Assist. Fund designed to help
New
York,
NY
duction, or recently completed, NewProject.net

nonprofit
media
arts
program w/ up
to
$2,000 per
where
is
project.
new
professionals announce their copyrighted
10022; (212) 753-1326; www.docuclub.org
projects
&
Orgs must be receiving support from NY State Council of

film credits. Professionally
present them to programming execs, distribution

if
you credit song
in
your
produced & mastered CD with
&
the Arts Electronic Media
Film Program. Deadlines: July

&
Oct.
1.
TV Center, 109 Lower
Road Rash Music (ASCAP publisher), (703) 481-9113.
13811; (607) 687-4341; [email protected];
Fellowship avail, to qualified
New
in
other partners.
Newark
Rd.,
Valley,
NY
NEXT WAVE FILMS was established
&
funds
to provide finishing
support to emerging filmmakers w/ low-budget,
English-lang features from U.S.
& abroad.
Selected films
Dodge
Jersey residents to
attend 47th Robert Flaherty Film Seminar held
Fairfield
R.
&
Contact: Sherry Miller Hocking, Experimental
22 punk, rock, alternative, dance songs. Call John at
INTERNATIONAL FILM SEMINARS: Geraldinne
compa-
upstate
NATIONAL
Summer seminars &
receive
assist,
w/
postproduction, festival
securing distribution. Through Agenda 2000

&
univ.
Context
t u
djos
Rawstock's
needed."
Brett
Thompson, Screenwriter/ Director.

D.
>
48x44 with cyjva&~~~~

^^30x24 sound stage
&
filmmakers
established body of work can receive production
;:
teach-
w/ an
"From
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WOOD JR.
multi-camera digital video
audio post-production
ecording &rehearsal studios
The #1 choice
video editing
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m
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Call us
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6150 Santa Monica
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and Independents Welcome
CA 90038
&
-office
in
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North 12th Street Brooklyn. NY
www.DRRAWSTOCK.com
The place
production
Located
RAWSTOCK]
stage rentals
tape duplication
ighting
Edit Suites
18.384.8300
www.contextnyc.com
Mi\
2001
THE INDEPENDENT
55
(,^^)
financing
AVID EDIT SUITES

DFFLINE/DN LINE/3DFX
VIDEO
films
V.O. Booth
/Read
To Picture
assist, for features
shot on
Wave
2510 7th
Films,
video
digital
&
Ste.
St.,
CA 90405. (310) 392-1720;
&
nonfiction
& Agenda
Contact: Next
Monica,
Qrafix Suite /After Effects

&
2000.
Santa
E,
399-3455;
fax:
[email protected]; www.nextwavefilms.com.
0PPENHEIMER CAMERA: New

new productions
in
16mm camera
to pro
system
for
dramatic, doc, experimental, or narra-
form. Purely commercial projects not considered.
tive
Provides camera on year-round basis. No appl. deadline;
VOICE
NY 1DQD1
allow 10
212.244.0744
week
min. for processing. Contact: Film Grant,
212.244.0690
98134; (206) 467-8666;
Plummer
S.
WA
Seattle,
St.,
fax:
ISLANDERS
PACIFIC
COMMUNICATIONS
IN
grams intended
mance,
for national public television. Doc, perfor-
narrative, animation, children's or cultural affairs
jects
(PIC)
proposals for pro-
call for
PIC
eligible.
&
that examine
interested
is
illuminate
realities
&
Islander issues such as diversity, identity
Must be PBS standard
length.
Awards
of
up
pro-
in
Pacific
of
spirituality.
to
$50,000
available for works-in-progress including production
&
postproduction. Research, development
es
may
&
scripting phas-
receive up to $15,000. Deadline: Aug. 3. Contact:
Annie Moriyasu, Media Fund, PIC, 1221 Kapi'olani Blvd,

Ste.
96814; (808) 591-0059;
6A-4, Honolulu, HI
fax:
591-1114; [email protected]; www.piccom.org
issues
addressing
projects
solicits
w/
radio projects
projects
critical
social
&
in
in
all
or
Broadway, #500,
to over
screenwriters
May
15.
666
Funding Exchange,
NY 10012; (212) 529-5300.
NY,

each year
video
stages only.
distribution
Duong, The
Trinh
&
stages of production; film
preproduction
Grants range from $3,000-$8,000. Deadline:

Contact:
political
goal of creating social change. Funding for
in
form
200 professional
facing financial
for writers
&
editors
of small grants, given

Funds are not
crisis.
intended to subsidize writing projects or professional
development.
Broadway,
PEN American
Contact:
New
York,

call for
568
Center,
NY 10012; (212) 334-1660.
of Portland,
OR
is
Digital
announcing
Camp
submissions for the prestigious Avid Film
2001 program. 5-yr-old program affords
a boost to indie

offering Avid-authorized training to editors.

Welcome to the Dollhouse, Happiness,
Symphony
THE EDIT CENTER
SW
&
must be feature-
Projects accepted
rolling basis. Contact:
Westgate
Ste.
Dr.,
DMEC, Deborah
Ill, Portland,
Cravey. 5201
OR 97221;
is
an
annual grant awarded to emerging film & video artists
a professional editor by working on a real feature film

in
who
are residents of Texas.
award $50,000
Deadline: July

234 East 14th Street Suite #4B New York NY 10003
56
(503)
297-2324; [email protected]; www.filmcamp.com
Become
Avid
Online editing. Submissions
length projects
on a
Camp
Film
films will receive free Pro Tools audio finishing
THE INDEPENDENT
May
2001
2.
in
In
September, the Fund
will
grants ranging from $l,000-$5,000.
Contact: Texas Filmmakers' Production
Funds, 1901 East 51st
St..
0145; www.austinfilm.org
Austin, TX 78723; (512)
322-
(ZZZZR
DEADLINE: 1ST OF EACH MONTH, 2 MONTHS PRIOR
TO COVER DATE
(E.G.
JUNE
FOR AUG/SEPT ISSUE).
(212)463-8519; [email protected];
CONTACT: FAX:
PER ISSUE COST:
FX
888-441-2963;
travel.
[email protected];
www.aquariusproductions.com
0-240 CHARACTERS
(incl.
resource
MEMBERS

MEMBERS
MEMBERS
and video professionals, indepen-
site for film
and
ers, producers,
and videos
film
film enthusiasts is currently accepting
for free online streaming. In addition, site
lighting
&
gear
&
rates (718) 782-9179;
visions. Kevin Skvorak, reel
[email protected]
and more.
lists,
x.
20 yrs experience on features,
lighting;
digital,
shorts, documentaries,
web
Contact: [email protected] or visit
229
music videos.
English,
Italian,
site for
some Spanish;
(212) 807-1400
in
seeking entries for our free industry directory, including
talent
Aaton, video-tap,
more. Digital video too. Collaborations
tap,
MEMBERS
for interesting projects. Will
Theo (212) 774-4157; pager: (213) 707-6195.
is
is
CINEs, Oscars, and more! Aquarius Health Care Videos:
Renato
travel.
will
(718) 728-
Tonelli

Frequency discount:
BUDGETS/INVESTOR
5+
times.
Producer
&
ules
PACKAGE:
Experienced
prepare script breakdowns, shooting sched-
will
fl,
new york, ny
st.,
6th
10013. include billing address;
daytime phone;
of issues; and valid member
id# for member discount. to pay by visa

on guid-
ance issues such as violence, drug prevention, mentorchildren's health
& parenting
Experienced,
& commercials. Adam
Vardy, reel
at
210.
The Bureau
rates
(212) 932 8255; [email protected]
COMPOSER:
any
in
style that will
results! Call Sally
enhance your
Germain
for exclusive distribu-
YOUTH
lights
looking to collaborate on features,

tion.
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ing,
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Mark (212) 340-1243.
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five 304
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FOR
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Consider the University
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makers
avail. Call
tributor,
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to:
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Also-1:1
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(Sony
Ave.,
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COMPOSER:
Gomez Gomez & more
Kill,
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(323) 664-1807;
Original
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your film or video pro-
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COMPOSER:
to
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request. Call
Ian
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techno
music
name
you
your project. Orchestral
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it!
Sundance, Absolut. Bach,
Credits
incl.
PBS,
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of
crane, light-
dolly, jib
[email protected]
reel:
Tom
Agnello (201)

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in
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Sony DVCAM.
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Quentin Chiappetta (718) 752-9194; (917) 721-0058;

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(212)
Light.
DIGITAL VIDEO: Sony VX100
man, Sennheiser
ME 66
camera & camera-
digital
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UVW-1800) $150/day,
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fl.,
130 Madison
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for
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Guild,
Ernesto
I POV-.
for our Distribution Services brochure.
Experience
deliver!
[email protected]
NYC
tor
out. (312)
Send videocassettes or discs
The Cinema
Life of
NY 10016; (212) 685-6242; [email protected];
us a price. Support, no extra charge. You won't believe

it
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educational
ject. Will
MOST COMPLETE SUPER 16MM camera package in U.S.

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FOR RENT: SONY 3 CHIP
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Sue (212) 925-5170. $l,100/wk
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COMPOSER
our editing suite or
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Mackie mixer.
put 80 years of suc-
consultation. Call Joseph Rubenstem;
initial
THE CINEMA GUILD,
office.
We can
CA.
of
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713-5528.
location. (212)
EDUCATIONAL
AN
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0435.
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editor
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677-6652;
(212)
johnewell@ earthlmk.net
DIGITAL VIDEO VIDEOGRAPHER/DP with Canon XL-1
BRENDAN
Distribution
feature
&
C. FLYNT: Director of
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reel at
35BL,
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health, aging, stress, health issues.

distributor
Call
or
we
email
Our films win
lite
it
Emmys,
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and
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umentaries and shorts. Contact Melissa (212) 352-

etc. Call
Mik Cribben
for info
&
reel,
(212) 929-7728 or
DIRECTOR OF PHOTOGRAPHY:
592-3350.
As a medium-sized
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at
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35mm & 16mm
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THE INDEPENDENT
57
(E
avail. Flexibe rates;
SfVABlRYAM
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(781) 545-2609;
reel:
[email protected]
We
provide
and
artists
commercials,
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features,
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music videos.
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Abe (718) 263-0010.
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broadcast
to
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quality
post-production
services
at
DIRECTOR OF PHOTOGRAPHY w/ Arri 16 & 35BL2 camera pkgs. Credits
work
discount rates.
many
incl.
$1 75/hr.
$1 20/hr.
$ 85/hr.
Animation Stand
$ 85/hr.
DP WITH CAMERA:
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and
1325
for a
copy of
3,
Aaton XTR
is
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clips/stills.
To order reel or contact,
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with
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package (DV-500 cam-
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10012-0004
212.219.0951
Tel:
BL
[email protected]
era, sound, lights, etc). Final
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NY
with Arri
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DP/CAMERAMAN
184 NY,
reel;
view
editing),
visit:
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ready to shoot your project. Call Jay Silver at (718) 383-
&
Post
shorts.
[email protected]
Prod
Digital Audio
&
Matthew: (617) 244-
Willing to travel.
quickly.
6730; (845) 439-5459;
indie features
sultant avail,
help
for training
www.standby.org
corporate.
fiction,
Bilingual.
Alejandro (201) 295-9032.
DV CONSULTANT: Need
Fax: 212.219.0563
documentaries,
in
performances,
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& working filmmaker
w/
FCR
in
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AfterEffects,
in
Greg (347) 731-3466.
ENTERTAINMENT ATTORNEY."Legal Brief" columns
in
HP
;!
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IF
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also help you
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er
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features, shorts,
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specialize
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wars
THE INDEPENDENT
May 2001
extensive
Kosovo.
in
dent uprising.
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278-7869;
fax:
NEW YORK DIRECTOR/WRITER/ACTOR w/ DV
58
consid-
turn your idea or treatment into a real movie.
equip, can
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Providing ser-
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604.685.5808
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acting
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needed.
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educational
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to
30s-mid
40s. Jack Dakota (212) 371-9320; [email protected]
STILLS: "The single most important thing you must do

[for publicity]
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Larsen,
Postproduction
have a good photographer on the
to
is
Next
The
in
Distributing
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www.stevenboms.com; (212) 995-0535.
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indies have special needs! PS Wilco (718) 369-5105:
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ture
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only.
makeup/costume,
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fx artists avail-
PRODUCER WITH PRODUCTION OFFICE looking for low

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geting/scheduling,
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295-7878
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TRANSCRIPTION SERVICES:
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only $70:
is
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hr.,
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Drina (212) 561-0829.

catering, continuity, gaffer,
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Contact:
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WELL-ESTABLISHED
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If
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work w/ our wide
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505-
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creation, author-
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NY 10001.
IN
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clients incl.
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EMAIL:
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UNIVERSITY OF TEXAS
AT
AUSTIN
[email protected]
May 2001
THE INDEPENDENT
59
T
from the
www.aivf.org
aivf events
director
UPCOMING
June
Oddly enough, each year when we add the

corner flag to our cover that proclaims
little
"SPECIAL ISSUE: PUBLIC TV!" we
UNLESS OTHERWISE NOTED,
place at our office (see box below).
don't
212/807-1400 x301 or [email protected].
for all events:
other to get their copy at the newsstand.
IN BRIEF:
Nevertheless, public television plays a critical
June 14: Film Finance: Other Forms

Sept. 13: Production Legal Issues
Oct. 18:
Guilds and Unions
Nov.
Distribution Deals
development and distribution of
All dates subject to change.
PRODUCERS LEGAL SERIES
PITCHING TO THE PROS:
Sponsored by Cowan,
we published
roadmap
15:
FORMING A LEGAL ENTITY
independent work.
Last year
RSVP required
trampling each
envision hordes of readers
role in the
AIVF events take
all
BRIEF TOPICS
IN
Film Finance: Private Offerings
7:
DeBaets, Abrahams
to the
THE ART OF VERBALLY SELLING
&
YOUR PROJECT
convoluted avenues of the CPB/PBS system.
Sheppard
The
When: Mon, May 7th
When:
6:30-8:30
Where: Anthology Film Archives
centerpiece of one of our most popular
not only helped producers
issues, this feature
$20 ATVF members;
grasp the lay of the land, but also to pave the
Cost:
way
for
$30 general public
first
meeting of the new bureau heads
them
"and
smoother travel
that article," says

said: 'This
is
in the future. "At the
PBS
CEO Pat Mitchell,

"
what we have
to
Mitchell wants independents to
Our
seven-session Legal Series continues with
a nuts
and
entity.
Complete
bolts session
on forming
a legal
welcome.
know
details
will
be posted at
that
An equally strong message is that PBS
projects don't
end
at broadcast: in
our multi-
The
In Brief Legal Series moderator and co-
producer
Innes Gumnitsky, an entertain-
is
platform world, ancillary educational compo-
ment
nents and community outreach plans have
Abrahams
become
independent
critical to a project's success at
AIVF
PBS.
has formed two partnerships that will
be of great service to our members.
Pitch to
PBS program,
20 producers
with senior
more
will
will benefit
line resources.
Coe has put
when bringing
this
effort into
Michelle
developing
this
other partner
is
MediaRights.org, a
activists
and
social in-
documentarians (see Distributor FAQ,
March
2001).
film,
representing independent
AIVF
is
They
working
60
effective outreach campaigns. This
new
resource will be available in both
and on-line versions; watch
THE INDEPENDENT
a devel-
You never know when
reach.
is
you'll
have an opportunity to interest producing

partners or distributors in your project. Don't
miss this discussion with a panel of reps from
varying broadcast entities on the art of verbally
your
selling
Panelists
project.
TBA.
will get to practice -pitch their pro-
and further discussion.
ATVF
MEET & GREET
SENIOR
FILMMAKERS' RESOURCE LIBRARY:
PROGRAMMING STAFF
TUES.-FRI. 11-6; WED. 11-9
The AIVF
office
is
located at

York
Subways:
City.
to Spring.
resources
OF PBS
304 Hudson
New
ft, in
or 9 to Houston,
St.
or E

of print
and electronic
magazines
from essential directories

to
&
trade
BY PHONE: (212)
807-1400
When: Thurs., May

Cost: free/AIVF
Don't miss
from the
for details!
May 2001
17,
field,
6:30-8:30 p.m.
members; $10 general public
this rare
what PBS seeks
opportunity to find out
for content,
what they want
and how they work with inde-
pendent producers. Here

your questions on the
is
PBS
your chance to get

labyrinth answered
face to face! Reps in attendance
TBA.
Toolkit, designed to help producers budget for
print
you have
or acquisition executive's attention
members
with
MediaRights.org to develop an Outreach
exciting
say the average time
opment
Following the discussion, five pre-selected
and design
general public
Advanced purchases recommended!
jects for critique
houses hundreds
commitment from PBS.
wonderful resource for

terest
Sheppard. She specializes in
&.
producers, writers, and directors.
program,
program, which has paid off for producers with
Our
St.)
their pro-
from public panels and on-
huge
p.m.
AIVF members; $20
hold one-on-one meetings
AIVF program director
a deeper level of
DeBaets,
The first, our
from CPB/PBS; while many
staff
Cowan,
gives independent
PBS. As a component of
ject to
with
attorney
producers the information they need to put

their best foot forward
$10
three minutes.
PBS, that independents are
at
15, 7-9
fix.'
www.aivf.org.
changes are afoot
May
Second Ave/Second
(32
Cost:
showed
Tues.,
PBS PITCH SESSIONS

BY INTERNET: WWW.aivf.org;
[email protected]
PBS
selected 20 projects from AIVF's call for
proposals in March.
On May
18,
PBS
reps
meet with those producers about
offered to
A1VF members
possible
PBS
broadcast opportunities. Pitch to
will
be
again in September.
organizations in each region.
They
include:
formal focus groups, informal dialogues with
and organizations,
artists
AVIDSTOGO
screenings
site visits,
of work, and technical assistance workshops
MEET THE DISTRIBUTOR
for artists.
WOMEN MAKE MOVIES

(co-presented by
AIVF and Two
AIVF
Boots)
Luna
CO-SPONSORS
delirers.
ALTERNATIVE FUNDRAISING
Wlien: Tues.,
May
(admits ticketholders to
pizza
7pm
22. Reception at
Den
and beer); Program
Where: Reception:
Den
STRATEGIES
of Cin for free
at 8.
screening Pioneer Theatre, 155 E 3rd
When: Thursday, May
Ave
Where:
$6.50/AIVF members and students;
Cost:
Women Make
Presented by
Ave A;
of Cin, 44
$50
Cost:
$8/general public
AIVF
Movies
pm
6:30-9:30
3,
office
WMM and AIVF members only

WMM at (212) 925-0606.
RSVP: contact
This event combines AIVF's popular Meet
&
How
do you launch an individual donor cam-
and Two Boots' regular
paign? What's the best strategy for a successful
screening and discussion series of the same
fundraising party or benefit? This workshop
Greet industry
series
name. Reps from
Women Make
Movies
will
Women and
introduce the screening of 900
afterwards talk in-depth about their company,

philosophy, and
dents.
how
Women Make
and
they work with indepen-
are in-kind donations
Lead by Aishah Shahidah Simmons, produc-
media
profit feminist
financing media projects
for
expanding your funding base. Also included
Movies
is
a national non-
arts organization
whose
and
direct mail appeals.
er/director/writer of NO'.,
who
has garnered
multicultural programs provide resources for
tremendous support from individuals, in-kind
both users and producers of media by women.
donations, and
900 Women
burgeoning population of the
state's
Khadivi delivers a
strik-
ing, sensitive portrait
atmosphere,
peaceful
which
ries
is
with sto-
freedom,
Six
child-
and motherhood.
birth
women
mother,
a
filled
of life on the streets,
abuse,
student,
of
deceptively
in this
life
its
Filmmaker
900.
of
AT THE
most dan-
gerous female convicts and often exceeds
capacity
SELECT SCREENINGS
Institute, located
swamps of southern Louisiana, houses
population
grand-
AIVF members may
show membership card

Walter Reade Theatre
NYC.
165
center,
is
box
at
office.
The
located at Lincoln
65 th Street at Broadway in
free delivery and setup in your
home
or office
the most cost-effective way to cut your indie film
For more info, contact the Film Society
of Lincoln Center box office at (212) 875-5600

or www.filmlinc.com
May
May
May
1-10
Argentinian Cinema
11-17
Films of Aleksandr Ptushko
18-31
Richard
pregnant woman, a recovering
death row
attend specific film series
below) for just $5 per ticket! Please
(listed
Widmark
Retrospective
high school
were brave enough
COMING
IN
JUNE
ANNUAL AIVF MEMBERS' MEETING
to
share their frustrations and hopes. Produced
by
WALTER READE THEATRE
PRESENTED BY THE FILM SOCIETY OF LINCOLN CENTER
heroin addict, a prison guard, and the only
woman on
community outreach.
(Laleh Khadivi, 2000; 72 min.)
The Louisiana Correctional

in the
addresses alternative, grassroots, and creative

strategies
Academy Award-nominated filmmaker
Jonathan Stack (The Farm).
When:
Friday,
Where:
TBA
Mark
June 8
your
PICTURES
calendars!
Annual
AIVF's
Members' Meeting provides a great opportuni-
MAESTRO
Details will be
announced
ty to
at www.aivf.org
MAESTRO (presented in partnership with

NAMAC) addresses vital contemporary issues
affecting the professional needs
artists
and
arts
based clustered
and goals of
organizations via regionally

activities.
These
activities are
designed and coordinated in conjunction with
meet
staff
and board members,
what programs and
to find out
212 255 2564
services are in develop-
ment, and to voice your opinion of what you've

seen from us throughout the
are
and what we
bers' input:
spective
offier
last year.
Who we
depends on our mem-
be sure to attend to lend your per-
on what AIVF can and should be
for
independents.
\U
2001
THE INDEPENDENT
61

for
members
to discuss work,
meet other inde-
pendents, share war stories, and connect with
the AIVF
With the mediamaking

landscape morphing
almost daily,
and
First Wednesday of the month, 6:30
Contact: Mike
pm
& Music, Wolf Rd.
Camoin
Rochester, NY:
Atlanta,
people,
and advocacy AIVF
When:
Mark Wynns,
of the month, 7
pm
(404) 352-4225 x. 12,
San Diego, CA:

Monday of the month, 7 pm
Where: Bad Dog Comedy Theatre, 110 Riverside
[email protected]
Last
When:
Mf
new product
Independent
Film
Contact: Clay Keith, [email protected];
Organization, OIFF
Karen Scott, [email protected],
of a City of Cleveland
CO:
first
Wednesday of
Where: Boulder Public
the month, 7
Library,
Ramsey
of the
up-and-coming arts
corridor on the west side of Cleveland,

Ohio.
Jeff
was the proud recipient

(Ward 17) Community
Development Block Grant to make a new
home in the Gordon Square Arcade, a
pivotal building in the
pm
1000 Arapahoe
the
Councilman Tim
Shoreway Community Development
Homewood, AL
When:
With
Festival!
Melena (Ward 17) and
2910 Crescent Ave.,
Detroit
Boulder,
and
funders, and profiles
of makers who
understand what
being independent
Make a note
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[email protected]
MA:
Boston,
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is all about...
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Plus,
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Jin
First
New
Congrats to the AIVF Cleveland Salon/ Ohio
Birmingham, AL:
Through
The Independent,
keep up to date with
Contact: Ethan van Thillo, (619) 230-1938,
[email protected]
"HE
Wednesday of the month, 7pm
[email protected]
When:
VIDEO at
MHUtlS
First
Where: Visual Studies Workshop
GA: IMAGE
Austin,
IHOCMIIOI
OR:
[email protected]
(518) 489-
initiatives,
Contact:
Brunswick, NJ:
Contact: Allen Chou, (732) 321-0711,
Portland,
When:
4th
location of the next meeting!
Contact: Brooke Maroldi, (414) 276-8563,
New
to
date, time,
field...
www.mifs.org/salon
details.
2083, [email protected]
the
First
Where: Milwaukee Enterprise Center, 2821
more
opportunities,
in
When:
the Regional Salons section at www.aivf.org for
Be sure
AIVF keeps you

on top of new
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FILMS VIDEO MONTHLY
When:
month
Library,
6:30-8:45
pm
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St.

Cleveland,
OH: Ohio
Contact: Annetta Marion or Bemadette Gillota,

With our low-cost
Dallas,
membership
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production
discounts, access
TX: Video Association
[email protected]
dvproductions@'email.com
SWAMP
Tucson, AZ:
our
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afford not to join?
month
When:
NE: Nebraska Ind. Film Project

When: Second Wednesday of the month, 5:30 pm
Washington,

(202) 554-3263 x. 4, [email protected]
Last Tuesday of the
Lincoln,
WELL as
Monday
month
Where: SWAMR 1519 West Main
Contact: (713) 522-8592, [email protected]
When:
health insurance, as
South Florida:
Houston, TX:
to affordable
of Dallas
[email protected], www.lincokme.com/nonprofit/nifp
First
of the
Contact: Rosarie Salerno, [email protected],

DC:
DC Salon hotline
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in
with local partners. AIVF has resources to assist enthusi-
www.aivf.org
Los Angeles, CA:
EZTV
When: Third Monday

Where:
EZTV
of the month, 8
astic
pm
1653 18th Street, Santa Monica

62
THE INDEPENDENT
[email protected]
May 2001
and committed members who wish
in their
to start
call (212)
a salon
807-1400 x236
or e-mail [email protected] for information!
The Foundation
for

of the Association for
i^,q,n>j
programs and services
variety of


The William and
We
of the
AIVF
T.
for the Arts
New

Flora Hewlett
CALL FOR ENTRIES

NEXTFRAME: UFVA'S
TOURING FESTIVAL OF
INTERNATIONAL STUDENT
FILM AND VIDEO
Surveying
best
film
Foundation
NYSCA
seminars


neXtframe
2001

for the
including
LEF Foundation

&
&
exhibiting the
current student
in
video worldwide,
emphasizing independence,
creativity & new approaches
to visual
media.
BusineSS/lndUStry Members:

Rawstock; Eastman Kodak Co.; Film Society of Ventura County; Focal Point Systems, Inc.;
Forest Creatures Entertainment Co.; Idea Live; Marshall/Stewart Productions, Inc.; MPRM; Somford
Entertainment; CO: The Crew Connection; DC: Consciousness Squared Communications; FL Tiger
Productions, Inc.; GA: Indie 7; IL Optimus; MA: CS Associates, Glidecam Industries; Monitor
Company; MD: The Learning Channel; Ml: Grace & Wild Studios, Inc.; Zooropa Design; NJ: Black
Maria Film Festival; Diva Communications, Inc.; NY: AKQ Communications, Ltd.; American
Dr.
Montage; Analog Digital Intl.; Archive Films, Inc.; Asset Pictures; Bluestocking Films, Inc.; The
Bureau for At-Risk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra Films; Cypress
Films; Deconstruction Co.; Dekart Video; Dependable Delivery, Inc.; DV8 Video Inc.; Earth Video;
Human Relations Media; Hypnotic; Inkling Prods.; Kitchen Sync Group, Inc.; KL Lighting; Mad
Mad Judy; Mercer Media; Mercer St. Sound; New York Independent Film School; Nuclear Warrier
Prods.;
NTV
Studio Productions;
On Track
Video,
Inc.;
One
Kilohertz;
The Outpost;
Partisan
Prime Technologies; Seahorse Films; Son Vida Pictures, LLC;

Sound Mechanix; Stuart Math Films, Inc.; Suitcase Productions; The Tape Company; Tribune
Pictures; Winstar Productions; Wolfen Prods.; OR: Angel Station Corp.; PA: Smithtown Creek Prods.;
TX: Rose Noble Entertainment; UT: KBYU-TV; Rapid Video, LLC; VA: Bono Film & Video; Dorst
MediaWorks; Roland House, Inc.; WA: Amazon.com; Global Griot Prod.; WV: Harpers Ferry Center
Pictures; Paul Dinatale Post, Inc.;
Library; France:
Kendal Prods.
Nonprofit Members:
Film
Inst.; AZ:

Buddhist Film Fest; LEF Foundation; Los Angeles Film Commission;
Film Soc.; San Francisco Jewish Film Fest.; U of Cal. Extension, CMIL;
Filmmakers Alliance; Intl.

Media Fund; NAATA; Ojai
USC School of Cinema TV; Victory Outreach Church; Whispered Media; CO: Denver Center for the
Performing Arts; DC: Corporation for Public Broadcasting; Media Access Project; GA: Image Film &
Video Center; HI: Aha Punana Leo; U. of Hawaii Outreach College; ID: Center for School
Improvement; IL-. Art Institute of ChicagoAfideo Data Bank; Chicago Underground Film Fest.;
Community TV Network; Little City Foundation; PBS Midwest; Rock Valley Coll.; KY: Appalshop;
LA: New Orleans Film Fest.; MA: CCTV; Coolidge Corner Theatre Foundation; Harvard Medical
School; Long Bow Group Inc; Lowell Telecommunications Corp.; LTC Communications; MD: Laurel
Cable Network; Native Vision Media; Ml: Ann Arbor Film Fest.; MN: IFP/North; Intermedia Arts;
Walker Arts Center; MO: Webster University Film Series; MS: Magnolia Indie Fest.; NC: Doubletake
Documentary Film Fest.; NE: Nebraska Independent Film Project, Inc.; Ross Film Theater,
UN/Lincoln; NM: Taos Talking Pictures; NY: Center for New American Media; Cinema Arts Center;
CUNY TV Tech Program; Communications Society; Cornell Cinema; Council for Positive Images,
Inc.; Creative Capital Foundation; Crowing Rooster Arts; Downtown Community TV; Educational
Video Center; Film Forum; Film Society of Lincoln Center; Globalvision, Inc.; Guggenheim Museum
SoHo; John Jay High School; Konscious, Inc.; Manhattan Neighborhood Network; National
Foundation for Jewish Culture; National Video Resources; New York Film Academy; NYU TV
Center; New York Women in Film and TV; Open Society Institute/Soros Documentary Fund; Paper
Tiger TV; Spiral Pictures; Squeaky Wheel; Stony Brook Film Fest.; Third World Newsreel;
ThirteenA^VNET; Upstate Films, Ltd.; Women Make Movies; OH: Athens Center for Film & Video;
Cleveland Filmmakers; Greater Cincinnati & Northern Kentucky Film Commission; Media Bridges
Cincinnati; Ohio Independent Film Fest.; Ohio University/Film; Wexner Center; OR: Communication
Arts, MHCC; Northwest Film Center; PA: DUTV/Cable 54; PA Council on the Arts; Prince Music
Theater; Scribe Video Center; Temple University; University of the Arts; Rl: Flickers Arts
Collaborative; SC: South Carolina Arts Commission; TX: Austin Cinemaker Co-Op; Austin Film Soc.;
Southwest Alternate Media Project; Worldfest Houston; UT: Sundance Institute; VT: Kingdom County
Productions; WA: Seattle Central Community College; Wl:
Department of Film; U of Wisconsin
Dept of Communcation Arts; Wisconsin Film Office; Argentina: Lagarto Producciones; Canada: Toronto
Documentary Forum/Hot Docs; Germany: International Shorts Film Festival; India: Foundation for
.
UWM
Universal Responsibility
Please
visit
our website:
www.temple.edu/nextframe
for guidelines
&
entry forms
Deadline for submissions:
May
31,
2001
Or contact us at:
[email protected]
215-923-3532
Support
-X.
supports
Since 1973, the
ljou.

From leading the
has worked
and we're
movement
still
going at
it!
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to
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agreement
for indie

outside the
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Our
field.
And each
issue of

magazine
is

In this
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visit
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CO
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June 2001
VOLUME
24,
NUMBER 5
www.aivf.org
Editor
Thomson
Chief: Patricia
in
Features
Editor: Beth Pinsker
[email protected]]
Managing
32 Breaking Out
Power
Editor: Paul
[email protected]
Cheryl Dunye nabs big audiences on the

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Stranger Inside.
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Youth Media
18 Growth Potential
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Video Monthly
to:
St.,
6 fl, NY, NY 10013.
0731-5198)
(ISSN
published monthly
is
(FIVF), a
and
arts

artists.
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in
($55/yr individual; $3 5/yr student; $100/yr nonprofit/school;

(212)
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Cadmus
the USA by
M
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./?rf.
New
I|C
Publication
New
of any advertisement
made
is
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possible
in
part with pub-
22 A Day
to the editor. Letters
in
may be
In Baltimore, a
by
High school students become video

is
member
Foundation
of the
for
is
indexed
Inc.
in
the Alternative
Independent Video
&
Film, Inc.
associate; Nikki Byrd, Rani Soppa,
Robert
James
information services associate; Bo Mehrad, information services assistant;
Greg Gilpatnck & Joshua Sanchez,
I.
web
consultants; Anne Hubbell, development
Nonko Yoshinaga,
The Independent
interns; AIVF/FIVF legal counsel:
by
Dee Dee Halleck, Vivian Kleiman, Jim McKay (co-chair), Robb Moss (president),
Spiro,
Bart
Weiss
James Schamus*,
(co-chair),
Jack
Valerie Soe (vice president), Ellen

Willis,
Debra
Zimmerman*.
*FIVf Board of Directors only.
of
York's
illegal
waste
Orange
Harriette Yahr
28 Media
THE INDEPENDENT
June 2001
Lit
Goes National
A new organization,
a
Media
the Alliance for
Literate America, holds
founding conference
& Sheppard.
AIVF/FIVF Board of Directors: Angela Alston, Doug Block, Paul Espinosa (treasurer),
Elizabeth Peters (ex officio),
trail
New
county.
by
Visit
in
2001
Michelle Coe, program director; Paul Marchant, membership coordinator;
Israel,
dumping
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, deputy director;
on the
edited for length.
Press Index and
new youth media
Ann Hornaday
an ad. Letters to

in
the Life
program brings Black and Jewish
activists
appearance
in
25 Toxic Avengers
The Independent does not constitute an
in
All
DALIDA
6k
York State Council on the Arts, a state agency,
""."".'."I
MlNDY FABER
Maria Benfield
BY
teens together.
The Independent
'"ids ' rom the
youth
for
NY 10013,
Journal Services.
Publication of
.
St, 6 fl, NY,
York, NY,
network
media?
(AIVF), the
463-8519; [email protected]; www.aivf.org
(212)
fax:
304 Hudson
form a new national
distribution
$150/yr business/
and Filmmakers

Library subscriptions are $75/yr. Contact: AIVF,
Why
this
month.
Lucinda Furlong
its
Upfront
5
Editor's Note
News
FAQ &
Info
36 Distributor FAQ
Independent filmmakers
One
partner with independent video
Network
stores; archival film clips
distributing works by kids.
offered for free.
of a kind,
is
NoodleHead
dedicated to
BY LlSSA GIBBS
Paul Power;
Brendan Peterson
by
38 Funder FAQ
The OSI's Youth Media
10 Opinion
Program has been one of the

Youth media
exists as a
recognizable
movement
needs
by
is
a little
key funders behind initiatives

all it
of
all
shapes and
sizes.
(more) support.
Norman Cowie
by
Michelle Coe
40 Festivals
Miramax and Lions Gate go

the online streaming route; a
new
online festival application
service.
by
tamara
45 Notices
49 Classifieds
krinsky;
Daniel Steinhart
@AIVF
16 Profiles
Madison Davis Lacy's Free to
& Me.
Dance; Chris Roe's Pop
Deirdre Towers;
Ed Eberle
by
52 Salon Spotlight
Reports from Portland, Oregon;
Atlanta, Georgia; South
and Los Angeles; plus

word from AIVF's executive
Florida;
a
director.
Departments
29 Technology
Educators sound off on the
benefits of iMovie for their
Elizabeth Peters;
LaTrice Dixon; Beth
by
Harrington; Mark
Wynns; Dominic
GlANNETTI; MICHAEL
Masucci
students.
by
Mike Hazard
59 AIVF Events
62
64 On View
Member
Benefits
&
Trade Discounts

or airing this month.
by
Daniel Steinhart
Cover: Yolanda Ross as Treasure,
in
Cheryl Dunye's prison drama. Stranger

Inside. Photo: Nicola Goode, courtesy
HBO.
Juno 2001
THE INDEPENDENT
FORGET THE JONESES
t/i
e
35
>
in
_i
iu
i
UJ
For years there
TV standards
18
have, been
two primary analog
worldwide. Now, with DTV, there are over
digital delivery
with every single
standards. Only film
one
of
them. And
if
is
history
compatible
is
a teacher,
ca
you can bet that these too
will
be superseded by
tomorrow's new standards. The one sure way

protect your investment
medium has
like
in
it.
is
to originate
on
film.
No
to
other
kept pace with broadcast changes quite
So your program can
live
happily ever after
syndication, well into the future.
please everyone
Which should
including the Joneses.
visit
www.kodak.com/go/story
there's more
to
the story
E)
Chauncy Gardner, Peter
Like
indefatigable
to watch."
TV
But
Sellers'
So
viewer, kids today "like
comes
movement's afoot
couch potatoes into
slack-jawed
turn
to
active videomakers. For the past 15 years
or so, the idea of "youth media" has slow-
been gathering steam.
ly
was once
It
fragmented movement, with
its
instiga-
tors often toiling in isolation at a grass-
roots level.
But now things are beginning
to congeal. National
ing. State
networks are form-
governments are giving
stamp of approval. Fifteen years ago
Mexico was the only
state requiring
Now
in public schools.
advocating media education
com-
We
Right now, two
one productions
but here
high def/digital editing:
two intriguing programs: Fred
Uncompressed Video
Media 100
where
Iseek's Electronic English elective,
successive classes of students have inves-
Final
tigated the ongoing story of an illegal
After Effects
toxic waste
dump
brings Black
for
Protools
documentary that
Talented Editors
and Jewish teens together
collaborative
of
history
support:
HDCAM 24P/60i
their
Betacam
Betacam SP
Digital
Both provide
Baltimore neighborhood.
models and indicate the
DVCPRO/DVCAM/DV
U-matic
field
also
spotlighted
duplication/conversion:
Open
the
49. That's
media; the distribution activities of the
look at
its
devel-
and iMovie's usefulness
is
Cowie,
new
national net-
On
month
ing to get a youth
group
that's try-
media distribution net-
off the ground.
And down
in
New
there's the kick-off conference
the Alliance for a
Media
Literate
sounded by media
for
HD/ Digital
field
tool
HD-SDI/ Fire wire

Time Code Burn-in
Via
Norman
this
Inside.
This second feature not only disproves

the sophomore slump theory, but
trates the
it
illus-
growing role of cable networks
in the birth
and
Hope you
life
of independent films.
enjoy the issue!

Patricia
Thomson
editor in chief
C"
375
greenwich
new york,ny
<
'
www.islandmedia.tv
Documentaries
ie
Digital
st
tribeca film center
& Web Production
Film, Video
AVID
AND
FINAL
AVID offline/online
AVR 77/uncompressd
DESIGN,EDIT,MIX
\
encoding
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EDITORIAL
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2
islandmediausa aol.com
Feature
212.868.0028
the political
Cheryl Dunye's Stranger
of media literacy.
Trail ers
Digital Cameras
DP & Crew Available
High Def /
A cautionary
another note, our cover story

is
for
Cloning
Down Conversion
youth media.
America, the brainchild of some longtime players in the
artist
who comments on
and funding climate
Mindy Faber and Dalida Maria Benfield

an inside view of
as
teaching kids video editing.
note
SP/S-VHS
Hi-8/Video8
of media education.
We've
Cut Pro
Commotion Pro
and
in their backyard;
History Hill, a video
works are in the process of forming.
for
all in
Vermont-based NoodleHead Network;
youth media.
Mexico
It
Society Institute's efforts to fund youth
few specific programs.
work
sizes,
kind of creativity that permeates the
oping infrastructure and also peer inside
offer
shapes and
New
This issue of The Independent spot-
profile
media education?
inspirational
a big shift.
lights
many
is
number
the
is
in
what
their
munications be part of the core curricu-
lum
we
just
Mix
Flame/ 3d fx/anirrtatioi
Pro-tools sound/ 5.1 surroum
to pieture/M&E/VO/ADR/subtitles
DV>film digital transfers /neg cut /titles
3 3
4-8283
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THE INDEPENDENT
GSJ^ ^S)

guage
Coming Home
Filmmakers of Tomorrow Get
into
titles
there was
in the future
component
eign language
home entertainment awards

which augurs well
The VSDA,
Video Stores Today
Power
the goal
most filmmakers,
is life beyond the
for
there
box
Indepen-
office.
now
dent filmmakers
have a new route
avail-
able to get their
works
onto
the
shelves
independent
stores,
theatri-
is
new
for the
$19
Software Dealers Asso-
representing
"
Filmmakers of
HBHSHH
Tomorrow, was devel-
makers, and a group of independent video
The program
and the
their
works into video stores
owners to rent
desire of store
material that's
addresses both
the difficulties
have getting
more
fiction
VSDAs
director
of marketing and creative services. "If

doesn't reach theatrical, there's very
drens'
films
fairly
is
VSDA
designed cover
issue, says
as
with
films as short
one of
Art of Exotic Dancing, clocks in
at only
THE INDEPENDENT
ship of the
in
for
VSDA
a prerequisite
video
store
(New
Two
operation
York City's
more
there's
of
to
choose from
Boots Video, for

example,
than 24 copies of Gladiator"
is
not a
member),
encouraging
says director Nora Jacobson.
it's
to
note that of the
member
12,000
the National Convention
each January and
Coast
East
its
Video
held
is
Blockbuster stores and 1,800 belong to
secondary one, the
the Hollywood Video chain.
Show,
lot of
is
held
in
That leaves
other untapped independent stores
various routes in getting their material to
(In fact,
the program
are
on
titles,
And
who
industry.
member-
Filmmakers have traditionally taken
the program's most successful
minutes.)
ment
While
ty to pass their materials out, participate
synopsis, and packagRunning time is not an
Day-Drake, with
must become educated by
October. Filmmakers have the opportuni-
distribution,
30 minutes considered.
home
entertain-
accompa-
art,
ing up to scratch.
video
outlets, 2,000 are
round
for
video game
and other related

businesses, which
constitute
and
conven-
in panels and,
ready
independent
attend one of the
another chain or group of stores, yet must
be
video
major stu-
VSDAs
already be in mass distribution through
also
ers,
filmmakers, so they realize
are selected
titles
home
all
which cannot
site,
nies a screener of the film,
and
dios
isn't
ers are invited to
sim-
divisions of
video store owners,
VSDA
number
small
(both indepen-
as well as the
turn educated by
little
two-page form, down-
loadable from the
and
Once submitted
the
spectrum of video
"The [video rental] clientele
videos.
tions
application process
full
support the
from
and the filmmak-
them."
the
retailers
P^\ If
..'&
it
way of them hearing about it. This is a

great way for us to bring some product to
free:
^|
and docu-
committee,
and
Member- ship comprises
instructional
interesting than the
Day-Drake,
legal
and semi-
dents and large chains),
mentaries to chil-
"We were looking for ways of getting

new and different product to the retailer,"
says Celeste
benefits,
advice, events,
soliciting
to
ple
health
and multimedia produc-
everything
standard fare often available to them.
The
other countries, offering
>>
\
ing,
chapter presidents, independent film-
store owners.
Canada, and 22
States,
operations,
VSDA region-
oped by
al
documentary by Nora Jacobson.
initiative, enti-
tled the
companies
2,000
through-out the United
W M\
yi
ciation [www.vsda.org].
The
over
First Rites participant
My Mother's Early Lovers,
dî
Video
the
zation
home entertainment
billion
(Mm
industry organi-
retail
Hollywood Video
""
of
from video
initiative
is
nars for their members.
video
thanks to a
year,
established in 1981,
industry,
cal release
this
for the future."
nonprofit international trade association
By Paul
Although a
a for-
VSDAs
to
is
up
their title to them,
sit
in
the sell-through and rental arena.
and move on
have
next table to do the process
all
to the
over again.
Day-Drake has described the type of

that the program
is
film
looking for as "typi-
cally written, directed,
and or produced
by independent filmmakers that do not
48
have studio financial or promotional support.
We may
title.
to 10 retailers, pitch
The
all-embrac-
June 2001
most importantly,
tables of
available to carry your
be looking at foreign Ian-
directly
They
approached video compa-
embarked on an initiative like the

Hollywood Video First Rites program
(which was phased out last month), and
even approached video store owners
directly, as filmmaker Nora Jacobson did
nies,
with
her
Mother's
personal
Early
documentary,
Lovers.
"The
My
[renting]
clientele
must become educated by video
store owners,
who
SON VIDA PICTURES
are in turn educated by
41
filmmakers, so that they realize there's
more
UNION SQUARE WEST
NEW YORK
choose from than 24 copies of
to
Gladiator," says Jacobson,
whose
title
CITY
has
fared well from participation in the pro-
"We
gram.
videos outright to video
sell
stores for $19.95
scale
sliding
each and then operate a
with higher volumes:
for
example, an order of over 100 copies
would be sold
at
We
$10.95 each.
have to
be a bit more of the peddler and not

afraid to
212 242-9585
approach the merchants."
Stu Pollard, director of Nice Guys Sleep

Alone, another Filmmakers of
title,
Tomorrow
has noted several positive develop-
ments since the selection of his film

program:
and
it
"It raised
the profile of
raised sales,"
networking aspect,
he
it
says. "Also,
title
from a
was great to meet
The program
other makers."
in the
my
positive review of his romantic
Footase
Brilliant Archival
yielded a
comedy
in
Video Business Magazine and deals with
DVD rental operation Netflicks as well as

New
England wholesale video buying
group Waxworks Video.
And
last
month
John Stefanic's comedy, Waiting, was

picked up for video distribution in the
U.S. and U.K. by TLA Releasing.
Lance Weiler, co-director of The Last
Broadcast and a member of the six-strong
think tank that put the program in place,
had already struck a deal with Hollywood
Video's First Fates program, "since a lot of
fulfillment
houses weren't prepared to
take a single movie
they wanted more

was only then we
for their catalogues. It
realised
store
there were independent video
owners similar
to
independent mak-
who were looking for this sort of material. The goal of the January convention
ers
was
to
introduce
opportunities
filmmakers
they have
video market," he says.
"It's
to
the
in
the
home
similar to the
Extraordinary historical cinematography dating back to the

is
now from
available
IFP Market: you bring your work and
have a place to show
it
to people
who can
place the product in video stores nation-
industrials,
Call today
890's
government
film,
documentaries, and
and put a piece of the past
into
much more.
wide. There's no middleman."

Paul Power
managing
is
editor of
The Independent.
MOVING IDEAS
ERRATUM
In
the April issue ("Access Meets Art"), Claude
Meyer was incorrectly

program associate
of
identified.
Film Program; Karen Helmerson

director.
He
is
in fact
NYSCA's Electronic Media &

is
the program
The Independent regrets this
Call toll free:
NY
Fax:
212-721-0191
LA
Fax:
-866-4-Sekani
818-567-4235
www.sekani.com
error.
June 2001
THE INDEPENDENT
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love a parade.
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stateside news,
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Institutions:
and Filmmakers
(AIVF)
is to

and filmmakers and
to
for
independent video-
and
AIVF promotes
diversity
and democracy
expression of ideas
in the
communication and
and images.

1 The
Association
is
an organization
of
and
for
independent
and independence;
filmmaking
economics
is
it
excellence,
commitment
stands for the principle that video anc
more than
just a job, that
it
goes beyond
human
values.
efforts of

is
for the continuing
growth
of
filmmaking.
limit its

artistic
and
as valuable,
vital
film
is

;
exhibition of this
work
to the
community
at large.
can download the
tors
hard drives and
GOLDEN OLDIES
because
MPEG-2
is
However,
a high quality video
format, downloading can take time, and

there
PREUNGER ARCHIVES OFFERS FREE FOOTAGE

by
onto their
films
start playing.
is
a fear factor for
"There
users.
is
some
potential
some people freak out about having to do
Brendan Peterson
the technical work," says Prelinger. "But
once you download the
films
onto your
hard
Rick Prelinger loves giving movies

away. For almost 20 years, since serving as
filmmaker Pierce
a research director for
in their
the tape, and
Prelinger
exhibit in any-
way you want.
and home movies with
film-
of
footage
Sud-denly
these films for
you've
got
two
hours
makers, friends, and the general public.
almost
Now, with his Internet Moving Images

Archive (www.moviearchive.org), an
decades
200
worth
through
footage
online collection of 1,001 archival films
private corpo-
available for free
one step closer
cut
tape,
to
marriage.
has sold stock
tion of educational films, corporate advertisements,
drive,
you can dump
been
and sharing
power
of
a fascinating selec-
Rafferty (Atomic Cafe) Prelinger has

collecting
balance
and
a learning curve,
download, Prelinger
to his
his
is
ration, Prelin-
Utopian dream of
ger Archives.
Because many of
free access for everyone.
on the web
In
Animated radio waves eminate

from the Empire State Building
he
1994,
of
for
free.
in
the 1941 film Magic in the Air.
sites fall into
signed a representation agreement with
think
owns
Archive Films (now a subsidiary of Getty
worth the
the rights to others, reuse of material from
Images) designating Archive as exclusive
work involved." Prelinger emphasizes

that people can do whatever they want
the films featured
the public domain, and Prelinger
the Internet
no
Movie Image Archive
carries
stock footage
residual obligations.
"We want
to take a concrete step in the
an intellectual property
of
direction
representative of Prelinger Archives for
to
But
collection.
was
it
reserve," Prelinger explains, "to create a
for giving footage
sort of national park for intellectual prop-
create
to bypass the current
and
highly unproductive copyright wars.
We
erty as a
way
want to encourage widespread use of

moving images in new contexts by people
who might not have used them before."
Dubbed "ephemeral
films" by Prelinger,
Prelinger continues
sales.
own, control, and physically house the

Prelinger's passion
away that
Internet
the
him
led
Moving
Images
Archive.
"Since the mid-eighties, as
tion
and
from a
visibility grew,
lot of
my
Of
course they
generally weren't budgeted, so
we gave
estimated that 400,000 of
we never
With advances
these films were produced
and the
late 1970s.
titles,
Chance
Electric,
to
recreation
pulled from
of
over
material.
to
offer
He and
direct
his
cost-effec-
access to this
team began
transfer-
including 35mm,
and various obso28mm and 9.5mm
lete formats like
to
workstation built by programmer and
soft-
answer to boredom, juve-
they have been uploaded to a hard disk
Another noteworthy
social pathologies.
title is
Who's Boss? a
"neo-realist social guidance film" about a

wife's struggle to attain a
of
how
server
as
MPEG-2 program
(equivalent to
examples
people are using the footage, his
excitement
is
palpable, based
torians
who
on
reports
are equally thrilled to gain
access to this footage. "This
streams
DVD data streams).
is
the begin-
ning of a
much
am really
interested in hearing about peo-
larger project,"
from people about
ware engineer Rod Hewitt. From there
and
with no
Although
site.
Prelinger has yet to see specific
ple's
8,
under nighttime
nile delinquency,
sell
of this spring, over 12,000 films had
16mm, 8mm, super
were then digitized using an encoding
for
As
been downloaded from the
ring the original films
Betacam SP videotape. The video masters
(especially
husband and
way
more
18-minute promotion
lighting) as the
computer technolo-
sponsored by General
includes films like 1950's
Play,
an
catalog of 1,001
site,
archive
personal
Prelinger's
45,000
The
on the
films featured
between 1917
even
work
yours to
students as well as cultural and social his-
in
Prelinger saw a better,
tive
screen, broadcast, or
is
said no," says Prelinger.
basically
It's
into a
from filmmakers, educators, and college
found on the site focus on everyday

and cover topics ranging from race
and war to personal hygiene and "social
guidance."
Movie Archive
of your own, the resulting work
And
away material whenever we could.
gy,
So, once you incorporate a clip from
the Internet
collec-
started hearing
independent filmmakers in
search of stock footage.
life
with this footage except re-sell the data

file.
residuals accruing.
the culturally and historically illuminating

flicks
to
it's
so
says. "I
and getting feedback
experience
we can make
he
how
this
they use the
even
better.
site
can't
wait to see what people make."
For more information about Ephemeral

Films and the Prelinger Archives,
visit
www.prelinger.com.
Brendan Peterson [swordfish(Q value.net]
and writer in the San Francisco Bay
critic
is
Aided by the simple, straightforward

instructions on the site's homepage, visi-
lime
2001
THE INDEPENDENT
(j^-^-Sj.SJ.ZJ^j)
found that in the early

1970s, conservative foun-
dations began to invest in
Youth Media's Public Identity

by Norman Cowie
think tanks and advocacy
groups that would trans-
form
their ideas into poli-
cy and provided
Youth Media
Imagine this:
ly anti- commercial
produce
citizens,
is
defiant-
practice designed to
not consumers; a com-
if
we cannot
deemed exemplary within
when
plex engagement with pedagogy, power,
Particularly
and media; an uneasy
of work that
dialectic
between
product and process, production and
an attempt
ical analysis;
crit-
to address issues
However,
to
like
same time; an effort that

is seen as an integral component of school
reform and any media education curricula worthy of the name.
Is this just a dream? Not if one listens to
tions to step
at the
creating critical and
investments
long-term
the
for
last
30
move
it
from the margins to
make
this
to
some foun-
dations recently, one hears a rather differ-
an
for
held
According to a paper prepared
Open
Society Institute meeting
February for funders and practi-
last
tioners of
Youth Media, "the
roles
Youth
Media can and should play in the 21st

century and even what Youth Media is,
remain unclear." Elsewhere, it goes on to
ask "whether Youth Media is, or even
should be, a
in
disheartened by their premise.
Asserting that youth media

field,
is
not yet a
but a pluralistic set of equivalent
practices
with
potentially
conflicting
and inadequate modes of
and
leaders
political
vagaries of funding
cycles, review
political
panels
our
&
last
scholarly
dismantled
dis-
institutions
eighties
trickle-down economics and cowboy cul-
more of the same
today, the con-
servative political agenda has

ple: roll
for all
but corporate America, the rich, and the

military by defunding, deregulating,
all
that
is
and the
assess-
and
public and by dele-
This historical context informs the
constituencies
and scholarly
also displaces a critique
debilitating effects of a sys-
These
ing for precisely the kinds of things that
wrote a report for the National
the field would need in order to be "rec-
ittee
ognized" at
all
conferences,
tions, institutions
publica-
and contracts.
for Responsible
was widely quoted

press,
called
Comm-
Philanthropy that
in
"Moving
the
a
media
This
is
a political
problem that needs a

is
much to
lose
industries,
version of social
way it
might we
THE INDEPENDENT
lune 2001
reality,
impose their
and to pass
How
this
say,
as
is."
reverse this process? For
starters,
we, too, need to take media edu-
cation
seriously
and make long-term
investments in those institutions, prac-
and modes of
signification
that
might one day provide the biggest payback

of
them
the realization of a truly
all:
democratic culture.
Which
Policy
is,
after
all,
what youth media
is
about.
Agenda: The Strategic Philanthropy of

Conservative Foundations."
Covington
Norman Cowie
the Visual Arts
10
have allowed the Right
Walter Cronkite used to
as
"that's the
all
political solution, for there
combined with hyper-
to frame public debate, to
progressive
Public
factors,
commercial and inherently conservative
urgency to our work.

In 1997, researcher Sally Covington
policymakers
to represent their
points of view.
tices,
temic lack of state and foundation fund-
pressure
to
new
to mobilize their core
and news organizations
underdevelopment of complex,
and noncommercial forms of

media education and youth media practices in the U.S. and provides a sense of
In addition, they are
Internet.
media technologies
gitimizing the idea that such things matter.
and take up reson the radio, TV,
extremely effective at using old and
been sim-
back entitlement programs
privatizing
articles,
pieces, posi-
tion papers,
From
of capitalism.
Op Ed
books,
idencies
designed to protect people from the

excesses
provide
and publish
to write
assessments.
two decades conservatives have
and
research
into
who
material for research fellows
been
has
and
young people,
for
who mature
funders,
culture
credited
critical,
away from the
scholarships
mentoring
hijacked by the Right. For the
relative
It
and foundations
institutes,
provide
have withstood the
mainstream
from
that have withstood the vagaries of fund-
assessments.
Their think tanks, policy
those models that
over the cry for
lack of vision and leadership
ment, denies the efficacy of those models

ing cycles, review panels,
because they take

media education seriously:
cessful
not
the efficacy of
off,
goals
is
yet a field denies
"market solutions."
ture to
field."
While such questions may be necessary

order to focus a discussion, one cannot
but be
it
youth media
assistants,
And yet when one listens

tale.
"more Reaganite than the Reagan administration."
Asserting that
For due to an extraordinary
the mainstream for the last 16 years.
ent
able to hear
York
Perhaps conservative foun-
Of
same appeal to the public

sector, if anyone were still
New
Times that the Bush administration was
dations have been so suc-
years.
course, one could
attempting to
the Reagan administration in
1980, recently exclaimed in the
in
have been doing
servatives
Feulner, the president of the
Foundation, which wrote the
institution-building that con-
and former students of an organization
New York City's Educational Video Center.

For EVC has been modeling this goal and
J.
script for
artists
the assessment of scholars, practitioners,

like
Edwin
Heritage
EVC, we need mainstream foundaup and make the kinds of
development and produce award-winning

programs
somely rewarded.
and citizens.
extend the work of groups
engaged
socially
so.
idends in the future and have been hand-
this field.
ostensibly valued in a
is
substantial
Conservative funders were hoping for div-
they are doing the kind
democratic society
empowerment and community
of youth
nurture, sustain and repli-
cate those already existing models that

are
them with
long-term unrestricted funding to do
is
a media
artist
who
teaches in
program at Fordham University,
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films
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sites
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two
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technology hasn't yet been developed for
them
Project,
uses iBeam's integrated e-
commerce platform, whose Pay-Per-View

Manager enables the site to register and
process more than 100,000 users in a 10minute window and uses Microsoft's
Windows Media DRM technology to protect against piracy. Microsoft's Windows
Media Player is used to play the films and
Internet Explorer 5.0 is the recommended
indi-
which
license,
acts
order to watch the film.

offer
Down-
loading allows you to watch a film and not
be attached to the Internet, while stream-
films
means the
soon
also uses
Windows Media
on SightSound
are
down-
ability to
watch something
as
you wish. With downloading you
have
still
to wait
This also
whereas you can
start
from pay-per-view
differs
determine the time
ser-
who
companies,
vices offered by cable
that a film
slot
is
available.
Both
companies
hold
distribution
agreements with whomever owns the IP

(Internet
whether
protocol)
it's
filmmaker.
to
rights
the
film,
the studio or an individual
Either
way,
the
financial
impact on independent filmmakers
minimal
moment,
at the
as
is
everyone
is
how to create revCinemaNow CEO
trying to figure out
still
According
enue.
to
Curt Marvis, a royalty system
currently
is
being determined for their films. Their

current agreement with filmmakers
50/50
split
is
of the profits after their costs
(encoding, hosting, and streaming) have
been taken out. Some filmmakers, however

it
have mixed
"Miramax owns
feelings:
they can do what they want with
says
Jonathan
is
good. However,
download
than
is still
more
feel
of a
it,"
producer
King,
Guinevere. "We're happy about
PR
it
as
watching immediately with streaming.
viewing
SightSound
movies
distributing
the
minutes to download over a broadband
distribution rights to approximately 1,000
from
make first-run feadownload that

Guinevere became
available
title
first
for
license costs $3.49.
films
or cable
line
Internet pay-per-view
service
Crowe, debuted on the
starring Russell
download the
ing offers true video-on-demand, which
platform
model. Craig Lahiff's Heavens Burning,
the
stream, which
In January, SightSound.com announc-
tures
site last
DSL
modem.
ed a
the
least
at
to stream current features in
first
them-
Downloading and streaming each
different
[www.cine-
uses streaming
else the
it
However, each viewer must
vidually
it
into a file-shar-
the viewer different advantages.

requires
CinemaNow
manow.com]
was the
features via
its
methods.
OS
someone
like a key, in
Internet pay-per-view deal.
be able to sustain a
delivers
for
ing system, thus saving
be quite a while until filmmakers can
cash in residual checks. Each

ly
it
selves.
tune in and then stay

it
CD and pass
along to a friend or put
time and trouble of downloading
remains to be seen whether
it
will actually
for
example, you could
friends. For
download Guinevere onto
inroad into online distribution.
While the Internet has been
is
downloaded. According to SightSound
is
it,
as
of
any
the ability to
marketing tool
a platform tor distribution."
loaded as opposed to streamed. Viewers

Tamara Krmsh)
click
on the movie they would
is
like to see
a Los Angeles based freelance

UTIU'V
June 2001
THE INDEPENDENT
13

"CARPE DIEM"
Workshops start the
first
Monday of each month*
NEW YORK FILM ACADEMY - new york city

UNIVERSAL STUDIOS
DISNEY-MGM STUDIOS
Florida*
PRINCETON UNIVERSITY -

FRANCE
PARIS,
5> f
1
t,
'*lf
*TEi
Princeton, nj*
-
l*\
Cambridge, mass.*
KING'S COLLEGE
Cambridge, England
london, England*
A
m
All
"~~~
owned and operated

not affiliated
Studios or Disney-MGM studios
workshops are
by the
SUMMER ONLY
solely
New York Film Academy and
with Universal
new yccr 111*4 academt

NYC
10003
tel:
212-674-4300
fax:
212-477-1414
web: www.nyfa.com
G
filmmakers to connect directly with
and receive updates on
vals
Submission Made Easy
status.
summer
In the
Without a Box Streamlines Festival Application
by
Daniel Steinhart
Once
ment
mmak
2001, the
fi 1
Filmmakers must
ers
out applications, pay
fill
make video
entry fees,
copies, assemble
and bear postage
press kits,
costs, all with-
out any kind of guarantee that their film
be accepted. With around 1,000
will
festi-
vals in existence, just researching festival

details
can be an enormous undertaking.
But now, a new online service
is
redesign-
and time-consuming sub-
ing the costly
Box, Inc. was created by
David Straus and Joe Neulight, two filmmakers who have undergone the submission
CEO
explains
make the
and more
"Our
themselves.
process
the
appli-
the database with
and
pay an as
goal,"
and chairman Straus,
"is
to
entire submission process easier
both the
cost-effective for
makers and the
festivals."
The
film-
service
they
be
able
to
match the
and
service has the capacity to
with
profile
film's
criteria
festivals'
requirements and impartially create a
list
A Box will
aims to streamline the process for film-
of suggested festivals. Without
makers by allowing them
remind the filmmaker of festival

deadlines. Even though filmmakers will
tiple international film festivals
The
gle entry form.
mul-
to apply to
with a
sin-
online resource will
also
have
to pay a fee for using the service in
and the entire

and securely deliver them to festivals,
thereby saving time and cutting submis-
saves around
sion costs for the filmmaker. For festivals,
cutting
also digitize the press kit
film
addition to the separate entry fee that festivals
the filmmaker ultimately
charge,
20% on
down
submission costs by
the managing of entries will improve by
press kits, as well as postage or freight
charges, according to Straus.
tronically
and view
applications,
press
and eventually films all online. The

Without A Box team expects the service
to be available to filmmakers this summer.
kits,
The
procedure begins
online
when
filmmakers log onto www.withoutabox.
com and
fill
standardises
out a detailed entry form that

the
participating
application questions,
which
festivals'
essentially
same information, but in

different ways. Filmmakers then send
their press kits to Without A Box, where
they are scanned, digitized, and posted to
the selected festivals. Although unavailall
ask for the
able
ally
when
the service
filmmakers
will
first
In developing
fees elec-
opens, eventu-
be able to send their
high quality master tapes to the service to
and
when
submitting to
choosing what
strategizing
mieres.
Box, Straus
festivals,
festivals
to
whether in
submit to or
submissions for pre-
their
more opporfilmmakers because we make
"Our software
tunity to
their
Without
filmmaker complete control
the
giving
service to
to help
of the festival's crite-
all
Without
it
lives
easier,"
don't control
tor of the
who
gives
asserts
Straus.
"We
we just
become easi-
they submit
help the submission process
Cleveland Film
"We
Festival.
all
need the same information,

which is why an automated program like
this makes sense, but we all have different
structures, timelines, and specifics. David
basically
[Straus]
was very concerned about devel-
oping a system that
adaptable to every-
is
body, so that festivals can use
in a
it
way
makes sense for them without having

to redesign the way they do things to fit
the Without A Box mold."
that
In the
month of opening to filmA Box will conduct a
first
makers, Without
film- digitizing test to ensure that festivals
co-founders were committed to
his
its
the expense of extra dubs,
enabling festival organizers and selection
committees to gather the entry
and
comes to film festival submissions," points

out David Wittkowsky, executive director
of the Cleveland Film Society and direc-
search an extensive film festival database.
The
ria
"Everybody has different needs when
service
fee,
filling
A Box customize
meet the requirements of
each festival's unique entry process.
unde-
will
Dances with
already signed up and have been
time,
yet
Festival,
Edinburgh International Film
out extensive information forms to supply
any
at
Fest
Film Festival, the
Film Festival. Nearly 100 festivals have
updat-
ed
Ann Arbor
and the Toronto International
Festival,
which can
be
ser-
which includes AFI
festivals,
Films, the
cation,
A Box
phase of their
partners and a group of test and develop-
Cleveland Film
out
fill
of 2000, Without
festival
contacting and recruiting festival
termined
mission process.
Without
launched the
vice,
Submitting a movie to film festivals

can be a daunting and frustrating process.
festi-
their films'
are able to stream the films conveniently.

"All
can
tell
you," explains
president Neulight,
begin digitizing films until
filmmakers that
satisfied as
we would want, and

satisfied that
can
also tell
COO
and
we're not going
"is
we would be
something
it's
that the festivals are
something they want.
it's
you that
it's
we
a year earlier than
going to be about
thought
originally
because things are progressing that
fast."
to,
Every step of the way we give the filmmaker information and we allow that
Asked how
it
feels to
ness in the face of so
begin
many
web
busi-
other Internet
er.
filmmaker to use the information at whatever level they want. So our software
becomes
make
utility
that allows
them
to
their job easier." In addition, the
service
will
improve
communication
be digitized and securely stored for festival
between filmmaker and
judges to access.
internal messaging service that will allow
film festival via
an
startups shutting
"We're building
down, Straus responds,
this business like a brick
and mortar business. There's

there's a product, and there's a
solution.
doesn't matter whether the
Internet
It
economy
is
need,
good or bad when you have
strong plan."
I
Daniel Steinhart
lit
lime
AVI THE
is
cm intern
The Independent.
INDEPENDENT
15
(^
E)
While
years.
WNYC,
at
still
he
into the overall narrative drive."
served as executive producer for Paris

Burning,
Is
feature-length docu-
mentary by Jenny Livingston, then in

1990 hit his stride as a documentary
ers
filmmaker with Eyes on
Halvorson."
episodes
and
an Emmy.
II,
which he won
8, for
second
the Prize
Emmy
in 1995 for Black Boy, his
followed
90-minute
is
won-
Lacy says that from
"The
biggest stum-
making the
series
was
research
little
Katherine
Continuing
Caribbean dance."
of
as
large historical
many biographies. We had
to
the contextual information to
dancers in their times."
the
Using the verb "compose"
aspire to
was to be
"If
shake dancer, or a tap
dancer, or a contortionist, or an acrobat,
because that's
The
all
that was
open
to you."
creative force behind the ground-
genial
writer,
Madison Davis
director,
Lacy. "I
am
worked," says Lacy with the directness of

a
man who
is
not easily impressed.
Free
and themes; he
as
breakdancing with archival footage of
the same from Africa. Without compro-
mising the weight of his material, he

appeals as
ence
much
to the heart of his audi-
mind.
as to the
and scholars
for
He
the
chose the
series
artists
not only
within the dance community, but also on
Although the
series has all the usual trap-
heads
pings of television documentaries

torical
and
original footage, a
tion of voiceovers
and talking
his-
combinait
new was
shot
on
film
and more
time could be taken to bring out the beauty of
clearly delineates his story
balances the exotic and the familiar, such
by hearing someone on the phone
whether they could work on camera,"

confides the producer.
This
series,
on June
due to be broadcast on PBS
24, stands out as a multi-layered
approach to a subject rarely written

about, let alone treated as a
unto
each segment.
know
the force of their personality. "You

just
phenomenon
itself.
took to com-
In a rare instance of sentimentality,
plete Free to Dance, Lacy juggled other
Lacy unabashedly jacks up the intensity
During the
five years
it
commitments, including work on Ken
during the telling of the struggles of Edna
is
Burn's Jazz series and a year-long assign-
Guy, whose determination to get around
producer
ment on Blackside Productions' Hopes on
breaking, three -part Free to Dance series
the
information.
because of their knowledge and respect
everything
say,
you could
scholarly
music as a trumpet player and
Carmencita Romero appears to

all
and
"Without that
dance, that section just wouldn't have
story freely laced with complexities
an impeccable sense of timing to

to Dance. It breathes; it sings.
classical
brings
particularly
Lacy originally trained in
since
telling,
is
was blessed with an ample budget so
a black dancer,
for
not be interested in modern dance, Lacy
There were no
though written by the same pen, dancer

you were
moment
Black modern dance that we had to
place
on her study
commissioned Jawole Willa Jo Zollar
choreograph a private
To hook an audience that may or may
give
For
point
vital
had been done on the subject of
and then compose it,

weave together the biographies, and
the last leg
some
either illustrate
and/or fed into the arch of the piece. Lacy
scene lends an intimacy and juice to a
Dance. "He
to
find the story
1936.
that
Stephanie Reinhart, executive pro-
tracts or
is
dances,
Edna Guy on and around her bed.

Convincing and masterfully shot, this
dig.
Haiti
15
choosing 2-5 minute segments from each
"When we saw Black Boy, we knew

Davis was the man for the job," says
rooting the story. So
"Haiti.
Ove and Gary
filmed
to
bling block in
Dunham,
Horace
They
also
his perspective,
says,
to get the best directors of dance,
"which we did
Richard Wright.
derful storyteller."
the black-and-white footage that

opens "Steps of the Gods," part two of the
Free to Dance series, dancers gyrating and
trembling with amazing invention and
grace immediately hypnotize us. Without
breaking the mood, a deep male voice
experience
first
documentary biography of author
ducer of Free
In
This series being his
with dance, he told the executive produc-
fond of calling
the flagrant racism and segregation
still
wanted to pull them

Lacy exclaims, which he no doubt
While the soapbox is invisible, the
openly moves him.
everything to
of contempohad to drop
concentrate on Free to
Indeed, for the better part of his career,
Dance.
Lacy was known
he laughs with a hint of relief. But not

until he read about dancer/choreographer
"Amen."
Edna Guy, whose ambition
thorn Productions, 1697 Broadway, Ste.
myself the oldest upstart emerging black

filmmaker," says the
as
fifty-
an
some thing
able, steady
Lacy.
man-
ager in public television and elsewhere.
For the
first
20 years of his
career,
he took
various jobs in production, including a
New York's second public

channel, WNYC-TV, where as
the Horizon, a social history
rary
Africa.
"I
Lacy
think
finally
made
the right choice,"
personified the
quest of African-Americans in the early
key position at
part of the 20th century to dance
television
concert stage, did he feel that
program manager, vice president, and

general manager he dramatically turned
found the spine
the station around in the space of five
narrative and
16
THE INDEPENDENT
June 2001
knew
for his story.
"I
on the
he had
always
that the series should have a strong

I
wanted the dances
to
fit
in,"
will.
preacher in him
"I
has us
still
all
saying
For further information, contact: Fire-
203,
New
York,
NY
10019; (212) 258-
2299; fax: (212) 258-2153.

Deirdre Towers
is
the executive director of
Dance
Films Association, which produces the annual
Dance
On Camera
Festival.
genesis of Chris Roe's Pop and Me

somewhere within the chicken-or-egg
enigma. Did the idea for a feature-length
documentary film exploring the complex
relationships of fathers and sons come
The
love,
lies
never-ending
first,
or the idea to frame that exploration
within a six-month
According to
trip
around the world?
first-time director Roe,
it
wanted to make a
reality-based film and was searching for a
subject. My dad, fresh from a divorce and
was a
little
change
of both.
in career,
around the world
"I
was planning a
trip
to readjust his perspec-
tive on life. We decided to combine both

and came up with the idea of Pop and Me."
Pop and Me, which has picked up
awards at numerous festivals and is now
being distributed on video and DVD, tells
the story of father and son Chris and
Richard Roe as they circled the globe in
190 days. Although
and a
dominance
competition,
friendship,
struggle
for
infuses the relationships of fathers
and
sons around the world.
a retired stockbroker
and boys camp owner, had no
prior in-
filmmaking experience when they
field
film a
16mm
run
trial
Canon Scoopic
as they
three rides
took to get there, the pair
it
discovered the young
men
they
met were
and
material
focused primarily on
my
father.
But
it
my
had
in
mind
relationship with
didn't take long to dis-
cover that the emotional core of father-
with a seven-minute
trailer demon"we could not only execute
spent more than a
strated that
footage," says Roe.
Once
back,
was reluctant to come
commitment. Other than
when we
is
a highlight
of introspec-
While both the trip and the film took

some unexpected turns, the Roes
returned to L.A. somewhat shell-shocked,
but with a new understanding of how
picked up by
As for
Me came
with
later,
post-
the
film
completed,
festival
then was
circuit,
MGM Home Video.

Roe
the budget,
much
in
logging our
bulk of the
the
"Pop and
says,
we
higher than
expect-
increase
expenses being centered in post.
Our
in
ini-
production costs including travel
tial
topped out
tional
about $100,000.
at
An
addi-
$300,000 in post costs including
editing, scoring, mixing,
and
all
the rest
which came from private investors."

Roe and his father have lately teamed
series
that
bulk of the film out of pocket while
issues,
while they work on marketing the
additional funds were raised from a few
film through Blockbuster
Eric
the
month just
Two years
on our way."
Running headlong on into the notrack-record-no-funding wall meant
that the senior Roe would finance the
and
Roe's friend and second
and honesty.
entered
estimat-
brought us in
private investors, friends,
tion
was
production
ed,
we
months, but
at three
were finished, they wished us luck and

sent us
son o( John
into an Avid to be whittled
to 92 minutes. "Naively
ed postproduction
agreeing to look at the film
way
its
the Vegas trip
illus-
totaled,
than 125 hours of material that had to
down
pro-
the
to
All
Roe began postproduction with more
but mostly in their
[it]
home movie
as
added backstory
that
Roe's family relationships.
find
up with
family.
cameraman
Arnesen joined the project
at pre-
determined times, and together the team

captured
Sony
a
wrap-up interviews with Roe
father as well
his
son relationships were certainly unique

similarity."
were addition-
to that footage tally
al post-trip
anxious to talk about their relationships

I
perfectly."
and another 12 hours of color negative.
Added
with their fathers. "The film
to the idea but
with
We
digital
himself with 80 hours of digital videotape
Express. Typically everyone responded
interviews
DVX
an average of 20
carried
teamed up
Las Vegas. During the
to
what we were trying to

Roe recalls, "We wrote
our proposal and approached every
funding source we could think of, from
the Discovery Channel to American
in-depth
created shipping prob-
issues,
After 190 days on the road, Roe found
trate exactly
and sons they met along the way,

from India to South Africa. A central
coup an interview with Julian Lennon,
"complicated storage and
says,
and increased the post budget.
lems,
do
and
on Final Cut Pro. Shooting
to
to hitchhike
do."
fathers
to
it
worked out
January 1996 rented a
Angeles and in
vided us with a piece that would
conducted
he
exposure
had
exclusively
videocassettes at any given time and that
in Los
the basics of the film idea, but
their relationship, the pair
film,"
if
DV
shoot Mini
I'd
became roommates
Coming away from
on
again
began preproduction. In 1995 the pair
the
film focuses
color negative brought some-
thing extra to the film,
cut the film
Chris Roe, a freelance graphic designer,
and father Richard,
Kodak 7287
sync sound images' with the
all
DCR VX
Bolex
1000
H16 Rex
era. "In early
digital
camera, while
1996 there was no choice
other than the Sony VX1000.

first
of the
B cam-
4 was used as a
new
It
was the
portable high-end digital
cameras and probably remains the best as

far
as
quality
reliability,
are
"Although
flexibility,
concerned,"
and image
Roe
thought shooting
just
up to develop
Me
a reality-based television
addresses
me.com web
and
over $400,000, half of
well,
important lessons.
mentary and two,

a
think Pop
difficult
it's
to
a big-budget docutechnology-,
logistics,
and equipment are

telling
learned two
I've
First,
make any money on
than
and the popand
"Although
site.
works
family dynamics
lots
good
less
image onscreen today
is
Telling a cohesive story
is
important
Getting
story.
an
the easy part.

.i
lot
more
difn
cull."
For
more
information,
infb(5 chrisroe.net;
contact:
www.popandine.coni
says.
16mm
Ed
Eberle
is
specializing
an L.A.-based freelance journalist
June 2001
film, television,
and media
arts.
THE INDEPENDENT
17
Growth
Potential
New National Distribution Network for Youth Media?

BY MlNDY FABER & DALIDA M A R A BENFIELD
W7ry Form a
On
crisp
Center (EVC) in
New
York, Laura Vural
morning last September, a group of young media producers

stood up before a room of adults to deliv-
was one of the
er a statement.
media educators had ever gotten together
"We want
to
be
youth trying
to
survive,"
taken seriously as
19-year-old
"We
Jerusalem Singleton began.
don't
want our messages changed, censored,

diluted, or watered down. We are willing
We
to take risks to be heard.
time to shine and people to
want our
know
what's
focus
on our minds."
This
group of 20 adults
Many had
tion.
audience
particular
was
rapt with atten-
spent a good portion of
and creative energy working
their lives
with youth to make media that makes
Miller
and Kim Crabb," Lamb
as a group.
times
first
We
recalls. "It
these youth
all
were so excited to share
to
keep in touch
and
tapes
this
ideas,
form
a network, share
and formalize
a system for
members of the media literacy community to become the National Alliance for
Media Education (NAME) a match
that proved problematic.
"We understood
how
the power of alternative culture and
comprehend media
students can better
when
they are engaged in
munity and the youth media production
youth media. The youth participants had
field
stayed up late the night before discussing
set of priorities,
meant
them. The
result
was the vision statement.
"If a tree falls in
hears
did
it,
it
to
the forest and
make
no one
a sound?," Jerusalem
"That is what distribution

us. We want to speak to other
NAME
and
was
tive
and gain
one of those
1980s.
Exhibitions (LACE), to curate Magnetic
perspec-
Teen-Powered TV, which toured
Youth:
Lamb
were
just differently.
"The
explains.
all
"We
media world
about devel-
oping smaller, cheaper modes
and now schools

to have these
of production
starting
are
technologies. Plus, there are
many
this
reason tor
to obvious
overall
network is the
Chris Bratton organized Teaching

Artist's
Space in
New York,
that brought together the
ation of a national network for youth
teachers, artists, schools,
TV
demand
explains, "The
to*
The problem
out there.
Jk
is
that
we
have working
don't even
th
elephonessomedavs,letalone
t
the
Video Data Bank.
time she had been involved in the cre-
Lamb was one
different
eighties
curator at Los Angeles Contemporary
successfully via the
listening. It wasn't the first
in
today,"
Lamb was
want
Youth media educator Gina Lamb was
are
the development of youth media distri-
We
us."
repeat itself
distribution
to be
new
Sometimes history needs to
tcKotresourceas^B*
them
about the issues that affect
until recently.
is,
new
asked by Adriene Jenik, former video
adults to listen
not an organized system
is
networking and distribution.
for
Although NYMA was short-lived,

there were other notable successes in
means
involved, organized, and active.
there
working within
artists
ulti-
mately disbanded.
bution in the late
teenagers globally and inspire
more media
were each guided by a different
continues.
to
includes over 80 organizations and hun-
1991 with
distribution
now
That
exchange."
NYMA eventually merged in
the
what
and
creative energy of this field (which
and outside the school systems),
national network for the distribution of
of creating
audiences beyond the students' immediate community. Despite the resiliency
dreds
making media messages themselves," says

Lamb. However, the media literacy com-
possibility
a result, today the vast
majority of youth media rarely reaches
work everyone was doing that we decided
manipulation
discuss
As
infrastructure.
our teaching methods and learn what
We
had assembled in an inn on

the shores of Lake Michigan in order to
change.
from Rise and Shine Productions, Branda
staff,
expertise
eîGui^
for
resources, and
organi-
necessary to be
effective
an exhibition
media
zations
distributors.
work of over 60
and media arts
ever
before.
There
greater recognition for the importance
founding
centers and offered a comprehensive view
is
members of the National Youth Media
of the far-ranging approaches to media
of gender, cultural, and ethnic diversity.
media.
Alliance
(NYMA),
which began
York,
at
of the
the
formation of
in 1988 in Rochester,
the
Conference
New
on Media
education. Teaching
carried by
tion,
TV
Deep Dish
EVC
was subsequently
Television. In addi-
formalized
its
own
in-house
program and developed a
Education organized by the National
distribution
Association of Media Art and Culture
comprehensive catalog featuring dozens
(NAMAC).
of youth-produced documentaries.
"Some
of the people
mental in organizing
Steve
18
Goodman from
who were
NYMA
instru-
included
Educational Video
THE INDEPENDENT
June 2001
Most other
efforts
were
finite projects,
however, with a beginning, middle, and

end.
What was
missing was a permanent
We
are better at thinking about funding.
Colleges are churning out people
want
up
to teach
who
youth media. We've grown
as a field."
In 1999, the Chicago-based organization Video
Machete decided
to re-initiate
discussion about the creation of a field-
wide network. Since
Video Machete
its
inception in 1994,
where we, the
authors,
work
has
ances and
tried
new
to forge strategic
and Maria
EVC's Steve Good-
Bratton
Chris
Benfield, along with
with their current distribution
satisfied
efforts.
"The truth
youth and their com-
ships in support of
munities.
alli-
intergenerational relation-
many
that too
is
titles
are
media that
also severely distorts
and mis-
represents
youth experiences,"
testifies
Dan Marano,
coordinator of the Taos
gathering dust on the shelves," lamented
Talking Pictures
Martha Chono-Helsley, founder of VIDKIDCO Youth Media Production Work-
Lamb
man, developed a vision for a grassroots,

nationwide, and youth-inclusive process
for distributing youth media. Through the
group.
partnership and with funding from the
outrageous and unacceptable situation.
ing babies.
Open
Lack of distribution remains one of the
more heightened
Society Institute's Youth Initiative
Program (see Funder FAQ, pg. 38), Video

Machete spent the year 2000 listening,
learning, and linking with other youth
media groups.
We began by adminM
-.
a Mfonso
poses
istering
survey
iu'Nam.aWeHf
to
youth
80
shop and a member of our
most
problems we face
critical
An
focus
first
a crime really, a completely
"It's
as a field."
Amy Baskin explains,
As
"We know we need
we need
to distribute,
and market and

we know that the demand for this work is
out there. The problem is that we don't
to network, collaborate,
Machete tape.
even have working telephones
some
days,
let
alone the
staff,
resources,
and
expertise neces-
Many
should be a central mission.
media by building a broad range of

These need
for
Society
in
Colorado and
criti-
important
includ-
MacArthur
Foundation,
Open
community
philanthropic
groups.
tributing their
successful?
own
programs? Are they
How many
works are available?
media
What support mechactual
anisms are most needed?
With
ing and
duced
36%
many
results
(see sidebar pg. 20).
The
excit-
were protitles
con-
sidered suitable for broad national distrib-
prised us
repeatedly
all.
to
work had resulted in high degrees of

social impact. "The crowds go wild,"
Amy
Baskin of
Video Access Center
one
single
New
(NOVAC)
Orleans
.
Yet not
youth media organization
felt
grow over the

each
titles,
indexed by subject, genre, and region. The
social activism, library,
on the Internet.
Over the next year,
and youth culture
sites
on
participants plan
meeting periodically to develop further

joint strategy for distribution
such
structure
our formal organizational
as
and further recruitment of mem-
These meetings
bers.
and work out
will
continue to be
being, questions about marketing, target
audiences,
ources.
to emulate.
But by
strategies
unanswered. For many youth media orga-
larger fund-
income. Over 90 percent agreed there
nizations, creating a
for
youth media
is
new
distributor solely
an attractive
is
"One
a field
of the largest obstacles
out tapes
youth."
"The mass media that appeals to so

many youth and shapes their ideas about
themselves and their world is the same
we
face as
a new
dub and ship
cannot be solved by creating
and presence
it
use of our resources for this national net-
distribution system that can
but
work.
an urgent need to create "a national forum

.
idea,
might not be the best overall strategy or
and away the most important
for
for
Other co-ops have suc-
monies from
individual organizations.
far
specific
rental or purchase of videotapes remain
ing sources that they were unable to qualify for as
and
may be one
national co-op
cessfully secured
res-
ing a national network was not earned
of
will
income without depleting existing
testified
screenings
web-based portal
an online
are starting small,
nizations by creating sources for earned
Surveyed groups
local
this
to create
is
we
organized by Video Machete. For the time
fortify
reason survey respondents gave for creat-
their
reports
a national network might
that sur-
how
task
participants
next year to include over 500
logistics,
an amount
ution topped 1,000
first
database. Although
all
youth media orga-
model
response rate,
some sobering
we thought
help stabilize and
Our
work.
that
is
database will then be linked to hundreds
When Video Machete sent out this survey,
community programs
Downtown Community TV Network.

The most important result of our focus
for
of other independent media, education,
by
We wanted answers to a
number of questions: How important is
distribution? How many groups are dis-
whole," says Tatiana
as
Loureiro, director of
Institute,
not been prioritized
media programs.
social-change
Nathan Cummings,
and the NEA Creative Links Program
youth media has
of youth media.
and
groups, as well as the independent media
agreed to begin to build a distribution net-
funders
ponder the future
allies.
youth organiza-
to include
education
tions,
to
youth
for
group meeting
ing the
L.A
"We need
mechanism
create an advocacy
Except
handful of
Lamb from Reach
focus-group members agreed that
tive distributors."
cally
Gina
of youth is
media than ever
in the
the democratization of the public sphere
sary to be effec-
Paul Hamilton from Five Points Media Center
The demonization
before."
obvious reason has been the overall
lack of resources.
Youth Forum.
Festival
"Our youth are really feeling it right now. You see violence being
blamed on young thugs and the problems
of the economy blamed on little girls havconcurs:
made
by youth," says indepen-
dent producer, Spencer Nakasako
(AÂ
Don
media
is
Bonus).
"The
tact
not taken seriously,
June
AVI THE
is
that youth
just as
youth voices
INDEPENDENT
19
-A
THE LOW-DOWN
RESULTS OF VIDEO MACHETE'S YOUTH
MEDIA DISTRIBUTION SURVEY
Rank the following according
Ranked #1) Increased funding
to the greatest
for youth
needs
Ranked #2)
Increase
Ranked #3)
Effective national distribution for your youth
Who
II.
in staff
of your youth
media programs:
media programs
media programs
for youth
media programs
uses your media works?
Ranked #1) Broadcast,
satellite
and/or cablecast
(Note: The majority of television usage
in
this ranking relates to local public
access cablecasting, not
national broadcast)
Ranked #2)
Cultural institutions
Ranked #3)
Film/video festivals
With which statement do you agree more:
III.
We
100% We
0%
are satisfied with the volume of sales/rentals
What are
IV.
believe there are
many more
in
our distribution program.
potential users for our
programs than we currently reach.
or would be your organization's primary reasons for having a distribution program?
# 1) To create a local/national presence and forum for the important perspectives of youth
Ranked # 2) To share and exchange information/programs with other youth media groups
Ranked # 3) To bring increased
to the organization and
mission
Ranked # 4) To increase earned income resources
Ranked
visibility
V.
Which
of the following
user types would you most
its
like to
reach with your media programs?
# 1) Community, political and/or youth organizations

Ranked # 2) K-12 schools and libraries
Ranked # 3) Film/video festivals
Ranked # 3) Broadcast, satellite and/or cablecast
Ranked # 4) Cultural institutions
Ranked # 5) College and universities
Ranked # 6) Individual home video buyers
Ranked
VI.
What age groups are you most
interested in reaching?
Ranked
Ranked
#2)
Ranked
# 3) Young adult (20-29 years)

# 4) Adults
Ranked
VII.
1)
Teens (13-19 years)

Youth (7-12 years)
What system
of
media delivery would you be most interested
in
further developing at this
point?
Ranked
Ranked
Ranked
Ranked
VIII.
# 1) Sub-distribution using a distribution cooperative dedicated to youth-produced media

# 2) Web-based distribution where video programs are streamed via broadband
# 3) Third-party sub-distributors (eg: California Newsreel, Center for Media Literacy, etc.)
# 4) Self-distribution
Of the following options, which do you think would have the most reach and impact on youth
audiences?
# 1) Distribution through the nonprofit and public infrastructure

# 2) The creation of a national television series on youth
outlets
Ranked # 3) Direct marketing to youth through zines, the Internet, and youth
Ranked # 4) Effective lobbying of school systems to include media production/education
Ranked
Ranked
retail
in
20
THE INDEPENDENT
June 2001
curricula
:
are not taken seriously. In order to suc-
ceed, the network must
become
a force of
advocacy that helps change the way peo-
youth and
ple think about
c&s
their right to
be heard in the media and society." But
by helping to build a context for the use
and understanding of youth media, the

network could serve as a valuable
resource that can match the right media
works to the appropriate markets, venues,
and
This
distributors.
may
appealing
new
streaming.
As Nakasato
include such
technologies
adds,
Discounted
video
as
"We need
Liability
media in the forms and forums

where communities already access it."
to bring
Insurance
for
Participants in the focus group articu-
AIVF Members
model distribution projects that would enhance our understanding of the impact of youth media
programs. As a result, Video Machete initiated a project "Machete Volante," funded by the MacArthur Foundation. This
series of programs and exhibitions will
place its emphasis on reaching particular
lated a
need
for
Suite
New York
Tel:
212-406-4499
first
The
Rejuvenating Justice.
in this series
and
youth
is
videos in the
program take on a vast array of

about
and evaluating the impact on
The
criminal
issues
justice.
SUITES AND FULL SERVICE SOUND 5TUDI0
Information gathered from this project

will
be used to inform the network's
dis-
As Jerusalem emphatically
not
is
know
But
issues.
I
have to
who need
points out,
just for youth. "Yes,
want other teenagers to see

they
my work
so
want
also
adults to hear
what
because they're the ones
say,
to hear
it
they're the ones
that need to change things and have the
power
to
CMC OJ
f
>
they're not alone with these

I
One Location
Rll In
tribution projects.
youth media
800-257-0883
Fax:212-406-7588
and youth-led dialogue about the prothose audiences.
City,NY
10007-2966
audiences, developing curricular material
grams,
500
20 Vesey Street
change what's messed up."
f)
PC
or
ine/Online
Men
upport
Excellent
DV,
Beta, 1/2",
"",
RVID.
DAT
UNCOMPRESSE
or
AVR 77
Onlines
212.614-7304
In the meantime, the national distribution

still
network
in
its
for
youth media, though
beginning stages,
is
serving as
an important new link between practitioners in the passionate

field
and committed
c?
of youth media.
Mindy Faber
is
director of distribution at
Video Machete as well as an independent

producer, curator,
Maria Benfield
is
and
ciTYSSiaifi
educator. Dalida
special projects director at
Video Machete and an assistant professor in

art education at the School of the
Institute
212.477-3250
Sound
Voiceover
Huge
ng and editing
1
ADR
ound
effects
a Pro Tools Mix Plus

Q 2 inch 24 track/DA8S
DAT
library of
Art
of Chicago.
636 Broadway
at
Bleecker Street
June 2001
THE INDEPENDENT
21
A DAY
On
IN
ways
finding
Scene with Baltimore 's

Wide Angle Community Media
to
with
collaborate
the
their yearly inter-
faith
Ann Hornaday
by
about
leaders
THE LIFE
seder.
The
scope of the pro-
eventually
ject
broadened
the life of a
one can find
the cameraman. The sound technician is
a typical night
It's
documentary
in
No
film crew:
gobbling a hurried
slice
of cold pizza.
And
African-Americans.
Many
of the stately
brownstones that grace the wide
streets
are boarded up, given over to the drug
But one blighted building shows
trade.
The elementary and
and
alize
how
seven years ago by 28-year-old Rebecca
ing the
in charge of finding the
Yenawine, have used the blank windows
Hill.
light.
as a
to get rid of a troublesome shadow,
and exactly who
is
source of ambient
Finally, the cast
and crew
settles into a
semblance of attention. "Okay, quiet on

the
set. Lights.
Typical.
before,
complimented
the director had
crew member on her
an after-school program founded
Hill,
canvas for a vibrantly- colored mural.
The
four African- American youngsters
working on the History
Kevin,
Alayne
tary
But then again, maybe not:
moments
Just
Camera. Action."
middle -school children of Kids on the
manicure. "Are they markers?" she
said,
are
all
ans; Emily, Jenn,
"No, they're Cady-didn't-wear-gloves-
documenand
Kids on the Hill veter-
and Cady attend Beth
Am and have become involved as part of

the synagogue's recent efforts to
more integrated
gazing at the blue-tinted fingernails.
Hill
Tabatha,
Charday,
into
the
neighborhood. Since the
become
surrounding
1960s,
when
synagogue's relationship with
the
community. Yenawine
their surrounding
signs of optimism:
is
condi-
social
tions that contextu-
making any one of a myriad decisions about which light should go

where, where the tripod should be set up,
the director
to
address the history
and Josh Bender, principal of Beth Am's

religious school, will serve as mentors dur16-week production of History
Gin Ferrara will be the video's

instructor. She founded Wide Angle with
Yenawine and media producer Paul
Santomenna last year in an effort to provide community youth groups with education
and technical support
in producing
and media
films, video, radio,
projects.
Tonight, in Beth Am's basement, the

kids will videotape Kids
on the
member John Henderson
Hill
board
speaking about
the history of the neighborhood.
They
to-dye-her-hair," the co-worker retorted
Jewish residents began their exodus from
have questions prepared ("Why did you
good-humoredly. Across the room, the
Reservoir Hill to the northwest suburbs of
choose to
live
Baltimore, the only Jewish presence has
"Where
all
sound person giggled

pair of
part," she said to
The
director's
no one
name
Canon GL1
favorite
Emily. She's
half,"
is
manning
video camera,
digital
And Cady
teen.
my
in particular.
is
Kevin,
recordist.
is
"and a
teen. Jenn, thirteen
sound
put on a huge'
as she
headphones. "This
whose
hair
is
is
little
fif-
the
the
is
is
fifteen.
They, along with three other teens, are

the writers, producers, and directors of
History Hill, a collaboration
of Baltimore's oldest
between one
and most venerable
synagogues, a neighborhood after-school
new media arts group

Wide Angle Community Media.
Every Wednesday this spring, the kids will
arts
program, and a
called
assemble in the basement of the cav-
ernous Beth
Am
Synagogue, a longtime
anchor of the west Baltimore neighbor-
hood of Reservoir Hill, to prepare and

produce a short documentary about the
community and its history.
An
elite
German
Jewish neighborhood
at the turn of the century, Reservoir Hill

is
now populated
22
mostly by low-income
THE INDEPENDENT
June 2001
interaction between
congregates
neighborhood?"
glitch:
Henderson
he sees
much
diversity in Reservoir Hill as
their black neighbors.
Yenawine hatched the idea

Hill
one
Still,
this
for History
while brainstorming with synagogue
is
from New
of the same
he did grow-
on Manhattan's Lower East Side.

"Some people would say that [all the
ing up
thir-
serving as sort of an ad-hoc art
director tonight
and
there's
York.
in
the white people go?"), but
dyed
black with peacock-blue highlights and
who
been on Friday nights and Saturdays, with
did
Tabatha gazes up at the Beth

of the last
Am
synagogue, one
remaining Jewish presences
in
the
African-American neighborhood.
moved
white people]
not true," he
that's
an environment
like
unique experience
to the suburbs, but
says.
"Growing up
Reservoir Hill
[that]
you
and appreciate.
to cherish
really
is
in
a
need
lot of folks
"They're petrified," says Kevin, as
There's
an awkward silence.
"They
wouldn't admit to being racist or anything,
but
think that has a lot to do with
environment."
think,
Baltimore, there are black people here,
"Cut." Cast and crew break for five min-
must be
utes that, because these are teenagers,
say
inevitably turns into ten.
Then
the kids
reassemble to discuss what they've heard.
the
in
it's
it,
a crime neighborhood.'
The
Thurgood
from
Marshall
Shakur
pac
the
Tu-
to
block
Hill.
history, or
"You
"Is there a relationship
and
its
swings
the
camera
Jews and blacks now?" asked Cady.
kinda
they
talk
can't feel really
around them.'
Silence
any
are
more
thoughts
stay
Jewish culinary
burst out almost
traditions.
in
unison.
"You're
white,"
At one
point,
someone mentions that
the white people living in Reservoir Hill

rarely venture out of their houses.
come out
"They
for their little meetings," says
Alayne.
little
white -people meet-
ings," cracks Cady.
The group descends
into giggles
and
side conversations.
"So why don't the white people come

out of their houses?" presses Yenawine.
during
VCR
Ferrara popped a tape into the
Angus Gibson's 7 Up
in
South Africa
by Michael Apted's
the
"I liked
ment hates
the
clip.
sees
it."
girl
of
part
films.
who
"She was
'The govern-
says,
bit,' "
blacks a
said
Cady
just telling
it
after
like
she
"They were good interviews
Jenn:
telling the truth."
their
us!"
Kevin:
"I
liked
it,
how
they were talk-
ing."
They
liked
And
Shea's 1964 film
Is
Free, too.
verite at
wends
camera
the
This
is
its
Mike
its
purest, as
way
through
Chicago's Maxwell Street Market, capturing the salesmen and their
come-ons with
But Tabatha
drawback for their own
Ferrara had given the

young filmmakers a quick lesson on narra-
freewheeling spontaneity.
tive technique, starting
project. "It
The week
before,
"What do you
think of
word 'documentary?'
"For their
say,
a health film
But they perked up when
third period.
and Tabatha
they
The
to any-
because the kids were cute. They were
Charday, Alay-
tell
slumped into postures familiar
one who has survived
in
their houses.
voices rising, "you
Birmingham," said
in
and-talking-heads to cinema verite.

kids
if
there
people
says
"The bombing
Jenn.
of a 1993 British television series inspired
about why white
and young people and drug dealers,"

Alayne matter- of- factly. "That's it.")
asked Tabatha.
"
again.
Yenawine asks
Charday discuss
remember the
techniques, from conventional narration-
comfort able
ne,
said Jenn. "I don't

just
what was that about?"
Girls,
Little
dif-
"They'll just
loud,
and
"4
"
explained the
Ferrara showed the group excerpts from

some documentaries that typify various
kinda funny, and

I
who then
her.
toward
'They're
(left)
"That's actually called a docu-drama,"

said Ferrara,
that,"
think,
Jenn
"The one on Judy Garland was good,"
Yenawine
between
about
talk
offered Jenn.
beginning."
as
"They
off.
something
Cady
before looked like
famous people."
"Or 4 Little Girls,

remember all of it,
on the
relationship between African-Americans
Jews now."
kids
she was nodding
channel," said
E!
who moments
"They won't
even think
about what
says
("My
all
is
"The ones on the

Charday,
ference.
like
need to either focus on the
respective neigh-
borhoods
to think
to
their
ones.
assent.
As the class concluded, Ferrara and
Yenawine asked the kids
asleep."
fall
more examples. "Ones

that try to turn it into a constantly moving
action thing, with the fast moving music,"
said Cady. Then Ferrara asked about good
The group
murmurs
format they want to use for History
generational
make-up of
hate to
So they won't leave their house or go out

after dark and it's just awful."
dis-
ranges
cussion
it
but that's the stereotype, you know?
Yenawine takes
over camera and
sound.
it,"
"They
middle of
says the slender, soft-spoken Jenn.
'Okay,
and the bad ones make you

Ferrara asked for
your age don't grow up in that kind of

After about a half an hour Emily says,
the
if
point were obvious.
with a question:
when you hear
the
immediately saw a
was
creative, but
take the risk of walking
I'd
don't think
down
the street
said,
"because
"
with a video camera," she
"Boring."
be
I'd
"People talking about
stuff."
bad documentaries," offered
are
Emily.
"The good ones
are fun to
jumped, mugged."
Ferrara seized the opportunity to talk
"There are good documentaries and

there
killed,
watch
about video etiquette.

than
ety.
it
"It's
used to be. We're
very different
in a litigious soi
People sue you or want to get paid."
June 2001
THE INDEPENDENT
23
As
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the class concluded, Ferrara and
"Oftentimes the media literacy and cam-
Yenawine asked the kids to think about
era exercises are very prominent," she
what format they want to use for History

Hill, and also what they want to focus on.
"You need either to focus on the history,
or on the relationship between African-
explains, "but here

it
work the
we knew
relationships
that to
had
make
to be promi-
nent."
Yenawine, and Santomenna
Ferrara,
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"Is
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there a relationship between Jews
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does
'bad'
mean?"
Tonight's
asked
"It ain't
bad," said Kevin. "Not a lot of
bad things happen around here
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ftages
like in
my
old neighborhood."
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THE INDEPENDENT
June 2001
Then
Ferrara
will
introduce the
group to Final Cut Pro editing software
and they will divide up into two teams,

to work with the footage they've
one
spent a lot of time the
classes just getting to
first
know each
two
other,"
Most of those early dishappened on camera, when each
Ferrara explained.
and
its history,
its strengths,
what people commonly misunderstand
culture
it.
But
at this
moment, the
The videotaping allowed
the kids
gum. Yenawine asks

ing thoughts.
"Jews rule!"
Cady
"Not
in
neighborhood," Kevin
this
shoots back quietly.
For
more information about Wide
that were really sensitive within a safe
yahoo.com. History
structure," said Ferrara.
completion
and Tabatha on two video

isn't
the
widewideangle(a'
contact
this
Hill
is
scheduled for
summer.
with Wide Angle has
already worked with Alayne,
that this
says jauntily to the
camera.
Angle,
who
must be
and snapping bubble

if there are any clos-
of winter jackets
"to use the technology to address things
Ferrara,
set
new
struck before the teens disperse in a cloud
that they've inherited.
about
Artists
about the Jewish history of Reservoir
material.
grip packages
talk
already shot and the other to shoot
group interviewed the other about their
wrapping up.
be revisited in the coming weeks, as the
cussions
tape duplication
typical of those that will
is
partners
youngsters thread their way through com-
"We
rehearsal studios
is
discussion
its
Next week Buzzy Hettleman, a Baltimore

attorney who grew up a block away from
Beth Am during the 1940s and 1950s, will
Hill.
Nothing in the preceding exchange was
meantime
supported by private dona-
is
and the grant money
tions
receive.
Bender.
Context
t u iu o s
the group
relationship with a synagogue, but [that's
"What
&
the
currently apply-
is
ing for nonprofit status; in the
because] the synagogue does charitable

acts because
recording
project in
Charles Village neigh-
Protools System; Voice-over.
Am synagogue
for Video/Film;
Audio sweetening; Mastering;
Tel:
Hill
ment
way she
Charday,
projects, notes
usually works.
Ann
Hortiaday
is
the
former film
critic
of the
Austin American-Statesman and

Baltimore Sun. She
lives in
the
Baltimore.
of the EPA, and the FBI has
TOXIC AVENGERS
them
to our environment."
one of several elecat Middletown

High. Some students are drawn to the
Electronic English
Wade Ever Deeper

Dumping Story
Middleton High Students

into Illegal
offered
tives
to
is
seniors
course to contribute to the evolving toxic
Harriette Yah r
by
commended
"for their efforts to highlight dangers
dump
story,
and some
non-activist reasons
on
sign
for clearly
to just play
around
with cool equipment or obtain a good-
Rachel
a nose-ring
like many
Raimist, sporting
and magenta-streaked
hair,
was
rebellious teenagers just itching to gradu-
when
ate high school
she signed up for
her senior year English elective:
walked into Fred's
class,
"When
thought
was
and environmental results they

full accountability and toxic waste
clean-up
their work has attracted widespread attention. Guerilla TV, a show produced by BBC, placed the MHS work
between other activist segments; Garbage,
legal
seek
looking credit to grace their high school

transcript. Isseks claims that
experience proved to be transformative:
1998 EarthVision Film Festival in Santa
ments
"What
Cruz
ended up doing
chasing cor-
is
and digging in toxic

had no idea what I was getting
rupt politicians
waste.
and
September
is
won
slated
to
screen
Woodstock
the
at
first
this
Film
that
e
story
assign-
Gangsters, and Greed
he does not
on the students; rather, he offers it as an option. As

a requirement, the students have to com-
place at the
The
going to he making rap videos."
dump
push the toxic
mon
gfttHWJ
myself into."
Rachel,
film
now an
and
active filmmaker
was
instructor,
student
at
(MHS)
in
Middletown High School
New York an old railroad

town 60 miles northwest of New York
City in Orange County. The class she
took was Fred Isseks' Electronic English,
an English elective that focuses on using
Middletown,
medium
the electronic
What
ries.
she
to
compose
sto-
* -.-^
was getting
was exposing toxic dump-
into
ing at local landfills that
had
her treading not only on
ille-
and
red-bag
gal
A succession
of Electronic English classes
has
investigated a local toxic-waste story, each
building on their predecessors' findings.
chemical
waste, but also into allegations
of local, state, and federal gov-
ernment corruption.
Since 1991,
Festival.
when Rachel was
a senior,
a succession of three documentaries
been produced by the Middletown
have
stu-
dents following the lead of their teacher:

Living with Leachate (1992),
Dump
The
Wallkill
(1994), and, most recently, Gar-
and Greed (1997). Each
bage, Gangsters,
piece represents a different snapshot in
the ongoing story's history.
mation
is
As
fresh infor-
uncovered by a new semester's
class, a larger picture
of the toxic
dump
comes into view, and a stronger,

more focused documentary is cut togethstory
er
pulling from
all
the available student
footage to date. Isseks anticipates another tape will be
Although
completed within the
year.
at this point the students'
investigations
have not delivered the
the
In
addition,
mm
class' latest effort is
programmed
Pay
the
film/video
month
as a part of
Attention!
series
at the
this
Center
for
xx*C
Photography in Woodstock.
sters,
Gang-
Garbage,
and Greed has aired
nationally
on cable
access through Free
Congressman Maurice Hinchey
New
York), former chair of the
State Assembly
New
(D.,
York
Committee on Environ-
mental Conservation,
toxic
strate their ability to craft a journalistic
story effectively using the video
Speech TV.
dump work
calls
the students'
"instrumental in calling
but subject matter
have
medium,
determined by
Neighborhood
vidual interest.
sports
is
indi-
histories,
team sagas, and school policy issues

been covered in the class. Some
also
students, like Rachel, learn lessons about
when he
attention to the problem." In fact, Isseks
themselves early on, Isseks
and
presents the local environmental history:
his students' research
documents were
requested by the Inspector General's office
indignation
|une
and
2001
says,
frustration
often
arise,
THE INDEPENDENT
25

those
inspiring
teenagers
into
activist
work they never thought they'd be into.

Students I spoke with concur: "It was my
at the New School for Social Research in

Manhattan, designed Electronic English
"I
don't think the grass
resources.
was supposed to be
red." "Like, there's so
cites the
drinking water."
much
why
corruption going on,
body doing anything about

Vesh,
17,
divides
his
isn't
Buy
and
and
class
As
inspiration for the course he
moment he
looked around his
realized that
20
to 25 kids rep-
resented the largest news team in the
it?"
extracurricular
hours between working part-time

Best
any-
new equipment
to take advantage of the
Hudson
running on the track
went
and
worried about,
digital
systems; recently the
with a G4, iMovie
Canon Optura camera.
low-tech and no-tech:

the technology in
2,
Isseks
somewhere between
describes his class as
not to
"I try
my
stress
but rather,
classes,
the concepts."
Some
much
very
S-VHS
linear
class
Valley area.
am
"I
at
on
Electronic
English
interested in,
and
become
corporate media,
and
course. Josh Lieberson, a 1996
of an
speaks
uate,
students
active citizens as a result of the
MHS grad-
important lesson
gleaned from the collaborative filmmaking process:
learned that in order to
"I
change you need organization and

purpose, and you have to work in an orgaeffect
nized fashion
in
group,
than
rather
doing things alone." Before he took
Isseks'
Josh says, he was uneducated about
class,
environmental
and he
issues,
know about
or even
didn't care
Now
politics.
he
is
masters student in political science at
SUNY
Albany, president of the College
Greens, and
is
considering seeking the
Green Party nomination
Albany City
for
Council. Others, like Rachel Raimist, are
working directly in media:
(MHS
3&fefi$
Agency, and even the FBI have praised and utilized
sentiment of
these student investigative tapes.
whom
believe that part of
my work
is
to alert
students to the media's power," Isseks
team.
His
experience
with Electronic
English follows the classic narrative arc.
wasn't
into
the
whole
[toxic
"I
dump]
dim idea of
the story. "I had this cousin, and she was,
like, well, when you're a senior you gotta
take this class. I heard it was fun." Then,
his teacher showed him the tapes. "It
made me more enlightened to what was
actually going on in surrounding commuthing." Indeed, he
nities."
He
had only
started researching soil conta-
mination resulting from a local battery
"And
states.
also think
BA
MA
and
in English
Albany State and his
high school diploma from Middletown
High in 1966. In 1991, when the school
ing both
his
Literature from
district
decided to run a small cable access
station out of the school, Isseks,
working towards an
26
who was
MA in Media Studies
THE INDEPENDENT
June 2001
to their
each semester dissecting
and framing the complex relationship

between the media, political process, and
degradation of the environment as he
if it
wouldn't be doing
doing today."
Talking with the students,
am
struck
out in ways that make
ongoing
(Danielle: "Every
class project.
year you kind of pass the torch along to
someone new and the
And
story keeps going.")
witnessing their work,
am struck by
it all
the innocence the students bring to their
comprehensible and present
it to them in
The technology
journalism; there's an honesty and fear-
the form of opportunity.
lessness
sees
is
it.
"I lay
there;
their
it's
it
a matter of
what people and
needs and creativity can do with
it."
Students are free to develop the toxic
personal stories.
after receiv-
am
supports the baton-handing nature of this
begins
epiphany."
1976
the former students with
power."
them
to alert
Isseks
i.e.,
in
does
as
echoes a
spoke: "Without a doubt,
weren't for that class
what
who
own
and
story
began teaching freshman English
all
'97),
by the lack of proprietary creativity that
them
Middle town High
job to
(MHS
activists
dump
Isseks
my
is
Dutemple
encourage kids to become media
At the end of his class

journey, he was a changed young man. "It
was one of those moments. Call it an
recycling plant.
it
Jeff
works in film/video,
Justin Libirio
Local congressmen, the Environmental Protection
at
'94)
interview,
requests,
the
in
areas
corruption,
file
They
interest
a naivete
(Congressman Hinchey
hit
the nail right
more
the
all
that
makes
powerful.
agrees:
"You've
on the head. That's
what's so amazing about these kids.")
This past April, Isseks and a few of his
shoot,
Electronic English students traveled 25
narrate,
freedom of information
involved in the
almost
work
health hazards,
and even get
pursue leads,
including
that
their
tape
Hudson
to
New
Paltz for a visit with Pulitzer Prize -win-
ning journalist Sydney Schanberg to
process
distribution
hand- delivering
miles north along the
to
dis-
cuss a media issue Isseks hopes to bring
"the
President Clinton. Isseks offers direction
into his class discourse
and
getting sensitive stories out to the public."
guidance,
sequence of the
and
final edit,
his students. All the
to date has
assembles
the
with help from
documentary work
been shot on
VHS
and edited
As an
difficulty in
educator, Isseks likes to point out
that "the failure of government and media

to follow- through
on the problem of
toxic
dumping has enabled students to get a

glimpse into the complex relationship
between political power and media." As

Relax and
call
an environmental steward, he is frustratmedia were into it, it
ed: "If the corporate
Vesh started researching
soil
contamination resulting from a
We
We
offer
you expertise
in selecting the best digital
installation
and follow-up support.
come by, have a cup of coffee and discuss DV, or

on 5/16, 6/6 or 7/25. Go to www.novaworks.com
more information on our Apple Final Cut Pro 2.0
Call us to
local battery recycling plant. At
attend one of our Free Final Cut Pro Seminars
the end of his class journey, he
bundles
to register online or call Vicki
"Call
would go
way toward
AFI FEST 2001
11.01. ..11. 11
press coverage of the story has focused
kids with a camera" rather
than the serious issues these kids are

ing with that camera. Julie Orlick
rais-
(MHS
"Every time something comes
'96) agrees:
up that would have an
effect
on the
polit-
powers in Wallkill, what we have
ical
shunned away and
actually found gets
turns back around to 'Wow, look at

these kids are doing.'
It's
what
kind of nerve-
racking." But Isseks remains optimistic.
He
NV1001fwww.novaworks.com
525 West 23rd StreefNYC,
solving envi-
ronmental problems." Isseks charges that
more on "cool
for
an epiphany."
it
a long
Schwaid
212.604.9999X43.
at
MMSSWORKS
was a changed young man.
video solution for you and your budget.
have an excellent service department with multimedia specialists to provide expert
believes the project has taken
on
life
AFI FEST 2001 (November

festival in Los
Angeles,
Highlights include
of its own, which will help steer results in
1),
the largest international film

its
5th edition.
Opening and Closing Galas, an
International
Asian, European and
latest Latin,
U.S. Cinema. Every screening, reception
story continues. This past
^^^
semester, students of Electronic English
covered topics that piqued their

like a local
accepting entries for
Competition and showcases of the
a positive direction.
So today the
is
and
special event takes
place within easy walking distance on
Hollywood Boulevard.
interest,
power plant proposed
at the
edge of town and the history of the football
And
team.
then there was Danielle
who was excited to pick up a camera and

head down to the local dump to see what
she could uncover, eager to contribute to
the evolution of the illegal toxic waste
story,
as
and
as
impassioned to effect change
Rachel was a decade ago: "They keep
blowing us
off.
Maybe
they'll get sick of us
and do something about
it
so
we won't
AFI FEST
bother them anymore."
Youth Activist Video
is
declares his class mission:
much
born.
as possible; get the truth
show people what's
really
Doug
"Uncover
as
going on."
do anything pretty much they

minds to."
kids can
Harriette Yahr
is
in
2001
.05.-1
He
writer, filmmaker,
and
09
AFI FEST 2001 announces the Connect Program.
only to delegates with films at AFI FEST
out there;
adds another strand: "And also show that
their
New
Open
CONNECT PROGRAM
Connect Program
offers participants to
2001
the AFI FEST
2001
meet with representatives from
all
corners of the independent film community within an intimate framework of
one-on-one meetings, breakfasts, lunches, roundtables, mentorships and other

set
educational and networking opportunities.

film
The goal
is
to offer participants fresh insight, establish cross-cultural relation-
professor living in Miami, Florida.
ships
and nurture
talent, creativity
and careers
in
the long-term.
June 2001
THE INDEPENDENT
27

EDIA LITERACY MOVES A STEP AHEAD
by Lucinda Furlong David Considine, coordinator of
The
trails behind every major
U.S.
English- speaking
media
country
literacy skills, but
in
teaching
now
there's a
new
organization that aims
that.
The
change
to
Alliance for a Media Literate
America (AMLA), a national nonprofit

membership organization whose mission
is to stimulate the growth of media literacy education in the U.S., will hold
founding
conference
June
23-26
its
U.S.
share media literacy "best practices" in
over 40 workshops, panels, and plenary

sessions.
media
is
author
How
The
of
the
Are
Children
Diversity,
and Canadian educator Neil An-
CD-ROM
derson, creator of the

the Lines:
will
Understanding Media.
feature
Between
The event
little
attention has been paid
Literacy
video production in the
101,
preschool teachers, faith-based media

eracy,
and
member LaTanya
Bailey
hoping to attract Texas K-
is
12 teachers to help
them implement the
adopted media
recently
how to produce
known
formerly
democratic
two
The group
conferences
Springs in 1998 and in St.
and incorporated
mission
is
advocacy,
as
orga-
Colorado
Paul in 1999
a nonprofit
whose
to "provide national leadership,
networking,
and information
Thoman, and
board members include
exchange." Besides Hobbs,

Bailey Jones,
Faith Rogow, a longtime producer of
acy materials for
28
PBS
liter-
children's programs;
THE INDEPENDENT
June 2001
1999, about a dozen states had
curricular guidelines calling for media
education. In the past two years, that
number had mushroomed
development
society.
in
This approach was
many
of which already have classroom
into the field of
and Canada. All have well-established

media
literacy curricula in place.
to create
media
grams have not fared
literacy pro-
as well in the U.S., a
All of these issues will surely be in evi-
AMLAs stated goal is to
promote "media
literacy
focused on
blame." In
field
of media studies
itself is
education that
and
critical inquiry
ing rather than
and the
further
dence in Austin.
the delivery of education
decentralized
move
media education.
country larger and more diverse, where

is
to 49.
1970s and refined in Scotland, Australia,
its
membership,
is
skill-build-
on media-bashing and
effort to create a national
AMLA
has cast a wide net
among
university departments
to
of film, television,
communications, tech-
groups and university faculty, but also ele-
balkanized
the
in
Another looming issue is the

which media conglomerates,
education programs, might
and
cultural studies, to
name
But recent developments suggest that
for
Literacy in Los Angeles.
nized
to
to
pioneered in England beginning in the
nology,
Media Education, was

begun in 1997 by four media literacy
advocates and educators, including Renee
Hobbs, founder of the Media Literacy
Project at Babson College, and Elizabeth
Thoman, founder of the Center for Media
degree
In
media,
autonomous thinkers
few.
Partnership
narrow focus tends
apply the
own
their
literacy
as
analysis.
and that teach-
and other forms
essential to their
standards.
AMLA,
ignore the importance of teaching critical
of popular culture, and to learn
Efforts
conference organizer and
to
AMLA board
Jones, AMLA
state's
to
lit-
film in the lives of adolescents.
According
how
Such
behaviors.
mass
of analysis and interpreta-
tion to television
as
classroom, media literacy for parents and
children
the negative "effects" of media depictions
ing students
is
ence institutes on topics including Media
can be shielded from or inoculated against
media can and should be given the same
media, a youth media camp, an area to

area for vendors, and seven pre-confer-'
how
the U.S. quickly veer toward
of media
of violence, sex, and risky or antisocial
video screenings of youth
preview educational materials, an exhibit
more, most discussions of media literacy in

at a crit-
to the idea that critical analysis of
skills
by pressures
education in the U.S. While the
worldwide,
Media Teach About
as well as
from the "back-to-basics" camp. What's
York K-12 teachers.
priority as, say, literature,
Watching:
administrators already feel overburdened
by other mandates,
literacy initiative for
Keynote speakers include Carlos
Cortes,
teachers lack training and public school
the dominant producer of media
literacy
lit-
eracy proponents to explore key issues and
grams might be implemented

remains a huge question, since most
and founder of Project
The Austin conference comes

ical moment in the development
ference 2001: Unleashing Creativity" will

bring together a diverse group of media
New
upstate
"The National Media Education Con-
But exactly how and what

kinds of media literacy pro-
Scheibe, associate professor of psychology
Look Sharp,
to be in sync with
reform.
Yonah Rosen, cofounder of Just Think Foundation;

Sarah
Feldman,
director
of
Audience Development and Content
Strategy at Oxygen Media; and Cynthia
at Ithaca College
the goals of progressive school
Literacy; Elana
in
Austin, Texas.
approach
Appalachian State University's

graduate
program in Media
the idea
is
gaining ground. According to a
not only media education
attract
mentary and high school educators and

administrators;
media and technology
after- school
specialists;
organizations;
1999 report by Robert Kubey and Frank
youth and community media production
Baker in Education Week, about a dozen
groups; health and prevention agencies;
states
had
curricular guidelines calling for
media education. In the past two
years,
libraries;
child
and parents.
advocacy organizations;
How AMLA
will
accommo-
number had mushroomed to 49. This

comes as welcome news for those who
date the interests of these diverse con-
away
simultaneously courting corporate spon-
that
have been
toiling
for the past three
decades in a fragmented
that has
field
encompassed not only media
artists
and
community-based youth media production groups, but educators
who
core methods of media literacy

on,
see the
hands-
student-centered learning with a
cooperative
and
inquiry-based
stituencies
under
its
"big
tent"
while
sorship remains to be seen.
Information about the conference

available at
(888)
www.nmec.org or by
is
calling
775-AMLA.
Lucinda Furlong, a writer and curator

ing in independent film
and
video,
is
specializ-
currently
researching issues in media literacy.
THE BRAIN
nonlinear digital realm can allow a certain
A NONLINEAR EDITOR
IS
of the mind. You never actually
laxity
approach
Educators Discuss the Benefits of Using iMovie

and Avid Cinema to Teach Kids Editing
days,
camera or iMovie
doing for about nine years as an
The key
the schools
folks to
heads.
am
always trying to get
run an imaginary movie in their

saves time;
It
it
demands no
knowledge;
technical
cific
artist in
it
access to limited equipment.
spe-
up
frees
also the
It is
real deal, the soul of the creation. It
What we dream can
totally nonlinear.
become
Of
is
edited video
home
to excitedly taking
show
to
course,
danger
the
between the movie
is
the
gap
mind and the
in the
my first
my first film teacher, he
at me and quoted the poet
material world. Describing
sce-
their families.
the triangle of three pov's: one
is
The
cut.
And
always
doing
a good day,
Nothing
it
doesn't
Under
the old
formula,
took about an hour
put
much
itself
you can
is
you are
moon
palace.
can be
for real. Decisions

off.
for using these sim-
youth
pler softwares for
programs
youtH
Time
that
is
Adobe Premiere
Cut Pro actually
like
and Final
intimidate the average student.
editing,
was not the
it
However, one of the best
Youth
even when having the equip-
ment
is
the
in
arguments
real.
just didn't allow
living
is
con-
even seem
it
poet Robert Bly says acting
change whatever
stantly the roles cycle.
On
lin-
a now-or-never
doesn't actually count
if this
as
board, and one hovered, thinking outside the box.
beginning and a very
The End,
mental gymnastics was always energizing
worked the mouse, one worked the key-
to edit a minute of video.
real.
an
ear sequence to
each
teach young people how to

make television which I have been
When
a video edit was a kind of per-
formance with
Mike Hazard
by
this edit as a final cut. In the old
when
media
Kris
activist
Sorensen, a teacher with In-
issue
nario to
looked
T.S. Eliot:
tion
"Between the concep-
and the
act
falls
the shadow."
asked to write
So,
ky IMovie
piece
about the use by youth of the
nonlinear
programs
editing
iMovie and Avid Cinema (AC),

this
montage
and
documentary
teachers,
emerged
is
pedagogical
of
missionary propaganda,
advice,
artists,
from
and
kids
in a nonlinear stream.
equal parts
With
clips
how
and why
to
a basic grasp of the
puter, the software for
Avid Cinema
com-
iMovie and
fundamentally
is
self-revealing. It
It
to.
is
easy to learn
by doing. According to Laura

Heit Youngbird,
an
artist
who
of Nations
teaches
at
Circle
School
in
Wahpeton,
iMovie Tutorial
45:24 (NTSO
like
ducks to water.
It is
laid
out nicely and easy to use."
Her
sixth grader Cherish
exclaims, "It was easy
and
best
programs
is
ft
making
bu...
The simplicty
Cloud
fun!
of iMovie
enables first-timers to do nonlinear editing.
It
make a movie!"
way to teach either of these
for instance, in the
to get three people together,
ways to
wasn't hard to
The
all v
North
Dakota, "The kids took to Avid
Cinema
Clip Selection:
show them how to open the application

on the computer, and where the tutorial
is. Then I hang back, ready for questions.
This past summer I watched three sevenyear-olds work together for four hours.
They went from never having used a
idency.
context of an
artist res-
So the emergence of these new

edit comes as a minor miracle to
an analog-raised editor
like
me who cut his
eye teeth on the old reel-to-reel decks.
Filmmaker and master editor Alan

Berliner noted recently that there
is
mixed blessing here. The minutely and

infinitely
Progress (www.in-progress.org), described

a difficult student
by
the
steep
who was overwhelmed
learning curve
of
Adobe
Premiere but was liberated by (Movie's
rel-
ative simple universe of choice. Sai
Thao,
also with In-Progress, says, "iMovie
is
ple
and the choices are very
like
word processing. You do
limited.
.1
lot
simIt's
of cut-
changeable particulars of the
June
AVI THE
INDEPENDENT
29
and pasting and moving around."

Both programs are very stable. iMovie
answering questions;
ting
Mac
only for the
is
DV
specifically,
new PowerBooks,
iMacs, the
"But we discovered a
iBooks, and
Mac and PC. Did
was both
Yes,
It
is,
can no longer buy
true you
it is
new, nor
are
Cinema
currently supported by Avid.
in the
words of Avid's website, a
"Legacy" product, which means
it is
that
it
the camera
old media never die, there are
CDs
tudinous
of the software out there.
you look you
will find.
the one geek
AC on
maker
new G4 found
it
it
to boot,
offers
Cinema and iMovie
to
how
to
cut
else
is
base of editing;
the
is
And
enhancement.
all
a student
can get back up to speed in an afternoon."
As memory
is
becoming
nonlinear times,
a lost art in
the
of a
sense
sequence possible with the programs'

screens
is
naked charm. Huey contin-
"Their linear tracks seen on screen
help novices and youth to visualize what
happens in editing a movie. However,

both software programs are limited in
doing insert editing
that
is,
when
trying
cutaway or cover shot over an
to insert a
interview.
It
can be done on both systems,
but a subtractive approach
is
needed
in
that you have to extract audio from the
sync track
first
before laying in the pic-
ture.
"iMovie also has 'undo' and 'redo' so
you can go back and forth seeing

edit
if
the
improved the movie," he notes.
Cinema does not have undo except

the title tool." Huey [hueyfilm@
"Avid
nlis.net]
shops this
will
be offering iMovie work-
summer in Maine
for educators.
James Barrance, director of Media

Education Wales [www.mediaedwales.
THE INDEPENDENT
June 2001
fan.
"iMovie 2.0
is
a massive
do cut-
features being the ability to
zoom
is
predecessor, the key
its
the timeline, to restore
media from previously edited
and
clips,
lock audio and video clips together.
to
The
only area where students have significant
problems
clicking
to cut
time again in the school year, the teacher
30
There's only one area where iMovie
according to Palmer,
the lack of a convenient
is
one that
stores
and
library,
and alphabetizes hundreds
This one drawback
what
holding us back from doing our full-length
aways, to
can learn
on these software programs. It

is also user-friendly for teachers who want
to make movies, but do not want to
become full-time moviemakers. After a
six month hiatus, when it is moviemaking
for
Bismarck, North
University of Wales Institute, Cardiff,
new
are great tools
use in K-12 classrooms. Learning
to
of
improvement on
fine film-
comparison:
this
you can preview any
with elementary school kids based at
an iMovie
comes
for
new
in
one hands-on lesson.
org.uk], a nonprofit organization working
impossible.
man when
and
ues,
to edit in
"that
If
in learning basic video production
these
how
disappoints,
tried to install
youth media education and a
how
Dakota,
Beware, however:
know who
Huey, the main
"Avid
is
multi-
still
We
incredibly convenient.
is
segment big screen without having

from the beginning, as in AC."
does not support Firewire. Yet, as
it
and the communication
start
histo-
has been sluffed
smoother, and more pro-
better,
liked the fact that
Mike Hazard teaching students
The main reason
ry.
much
of things in
lot
that iMovie, through Firewire, has with
AC
is it
only brain-
options on iMovie
titling
fessional looking;
say "was"?
The
the process.
G4s; Apple does not support iMovie for

the "old" blue tower G3s. Avid
we could
storm and troubleshoot together.
them
is
and dragging, which requires
tioning
though
you can
as
mouse
posi-
recently discovered,
also insert crop markers by shiftIt
would
also
be a
down
We
clips.
organized on paper to use iMovie, and

that just doesn't
happen with
iMovie has no print manual. David

has written iMovie: The Missing Manual
www.missingmanual.com).
($19.95,
shows how
you get only with more expensive
features
editing tools
to
video poetry this year with
and the American Romantic

The American Romantic poets can
juniors
poets.
be
difficult to get
through, especially in
the traditional manner, but video poetry

really
brought
this
poetry to
them
for these
life
more
poetry in search of one they liked and for
which they had a vision. It forced them to
think beyond a simple meaning and into
students
forced
it
pretty
is
to read
how
example,
for
or
titles
to
create
how
to pot
the soundtrack music to allow a
voiceover.
The book
good
that
comes with
AC
manual.
for a
the computer
It is
open up
media- savvy students resisting old subjects. "I tried
down
He
iMovie to mimic
to exploit
on the timeline."
Mary Palmer, an English teacher at
Century High School in Bismarck, North
new
and
Pogue, a lively columnist for Macworld,
multiple superimposed
ability
juniors
a 30 to 40 minute documentary."
huge advantage to have audio waveforms
Dakota, found these
for the
method of dragging
would have to be super
sake of that orderly
software
have a subversive
is
will again
produce our big project on AC,
'
clicking the playhead.
is
We
documentaries on iMovie.
inserting the crop markers by
to be precise in their
clips.
the dotty machine
we all bow to which has emerged as a

way to make movies. As an agitator for
universal access, it breaks my heart when
I enter colorful new media labs in schools
with iMacs that don't have the
tion.
DV func-
For a few dollars more, their students
might have been empowered to learn to

speak the language of their world, not just
be spoken
all
We
to.
directions.
have a long way to go in
love
it
when
works. Roll
it
credits.
deeper interpretation involving color,
For more information: www.apple.com/imovie
mood, tone, sound, cadence. As

a result, they made Whittier, Holmes,
Longfellow, Dickinson, Lowell, and Poe
come to life. Most of our groups worked
on Avid Cinema, but one group 'got
www.avid.com/products/avidcinema
texture,
stuck' with iMovie.
because neither
experience
iMovie, so
my
We
we
a.k.a.
Media Mike [thecie@
artist in residence at the
is
for International Education.

all
ages
how
to
make
lively
He
said 'got stuck'

I
had any
tutorial)
really weren't
much
with
help in
He
Eugene McCarthy: I'm Sorry

just beginning
Center
teaches people of
videos
video portraits of lively people.
partner nor
(beyond the
Mike Hazard,
pobox.com],
The Happy
and he makes
is
just finishing
was Right and

Collaborator:
George Stoney.
PRODUCTION & POST
Favorite Workarounds
My
favorite
little
Avid
Cinema
workaround with larger projects

to break
them
is
into
individual movies.
Render each as
individual films,
yotrrf*
then import them

into a
master at
the end of the project, a film of
the
films. This saves occasional crashes
when the computer
faced with a
is
massive project to render.

finesses
some
It
CyberStudio
also
Five robotic cameras

of the shifting of the
audio tracks which can happen with
-*t
.->
It
3?
.j^rji-
hr
last-minute fine-tunings.
My
favorite iMovie version
workaround: The Help
will
never
Digital
tell
St
you how to import only the audio
*~J
Rentals
Crews
Ifeaaaal
track from a camcorder. To do so,
Cameras
Classes
?^3
you connect an audio cable with

stereo minijacks at both ends.
Digital Editing
Connect one end to the headphone
jack of the camera and the other to
Classes
\V
the external mic jack of the iMac.
Now go
to the iMovie
workscreen
and expand the sound panel. Play

the camcorder and clock "Record
Voice" at the same time. Note: You
may have
to go into your iMac
Special offer
sound control panel and make sure

the external mic
is
activated. This
Downtown Community Television Center tDCTUi

87 Lafayette street
allows you to import any and
all
audio to the Narration Track (the
Identity two of these

one hour of FREE edltlni.*
|yW\
New York, NY 10013

tel (2121
006-4510
fax 1212J 210-0248
middle one) and then import and/or
www.dctuny.org
Jj^^CT^-A
'
T"
'
sync up any related or non-related
d|ai|J0|pu3M|BauMiliiMA
'
jsmsub
ieuii inoft
u\m joi uzzxj
sjfiay
m mm eioed
11
bo
video clips to the DV clip track.
Mike Hazard
June 2001
THE INDEPENDENT
31
AKING
Cheryl Dunye nabs big audiences on the small
Video artist and filmmaker Cheryl Dunye's done
the early 1990s, she
made
a series of video shorts,
it all. In
many
of which
featured herself and addressed issues of identity, performance,
and
sexuality at a
moment when
these were major topics in film
where they were discussed
theory,
an often impenetrable aca-
in
demic language. Dunye's particular
talent,
seen especially in She
Don't Fade, was in making these issues tangible,
and even funny, and
accessible,
in bringing race as
a topic of discussion sharply into the foreground.
She continued this tactic with her first feature film,

The Watermelon Woman, made in 1996, which looks
at the history of
Dunye
women
Black
in film.
this history doesn't exist,
Borrowing
from the
strategies of appropriation
art
But since for
she invented one.
and invention
world and mixing them with enough of
the attributes of narrative filmmaking,
Dunye
cre-
ated a hybrid form that's part scathing critique and

part fictional story.
Now Dunye
returns to the screen with Stranger
gripping prison
Inside, a
drama that
traces 21-year-
old inmate Treasure Lee (Yolanda Ross) as she tries

to reconnect with her mother,
McFadden), who
Once
and
again,
in
is
Dunye
Brownie (Davenia
serving a
jail
plays in the space
life
sentence.
between
fact
fiction, creating a narrative that brings to light
many
of the
Among
unknown
facts
ing her extensive research
women
90,000
women
in
is
in prison.
Dunye
dur-
that 90 percent of the
prison in the U.S. are single
Dunye also workshopped her script in

the Shakopee Women's Correctional
mothers.
1999
about
the startling figures gleaned by
at
Minnesota, where inmates offered their

on life behind bars.
While the film certainly has its facts and figures,
it's also Dunye's best straight ahead narrative project with strong performances all around and topFacility in
insights
notch cinematography. Yolanda Ross, a relative
newcomer
to film, perfectly captures the
mix of
explosive anger and intense emotional need as she

tries
to
deal
with her mother,
McFadden embodies
32
while
Davenia
the hardened, violent inmate
THE INDEPENDENT
June 2001
whose
affection
is
hard
earned.
And
instead of opting for the gritty realist style
of so
many
prison narratives, Dunye, work-
ing with cinematographer
Nancy
Schreiber,
instead chose to design the film with careful
attention to color and framing. She used
sc
yOUX
een with her
HBO prison feature Stranger Inside
women's prison
in East Los Angeles, where she was
able to construct the two cells where
Sybil Brand, a former
Brownie and Treasure
reside, while
the rest of the facility offered a realistic
milieu for other scenes in the
The
tends toward dark blues and grays, and

dream sequences for which Dunye chose a
bleach bypass process, giving them an ethereal quality.
Although the film had a special screening at the Sundance
story.
film's palette
there are several
Film Festival, Dunye's second feature was produced for television by
C-100 and HBO. It will have its official premiere on

HBO on June 23. In many ways, Stranger Inside is
Dunye's filmmaking so
a culmination of
BY
H Q
VX/
|!
;|
far, illus-
an adept directorial hand and strong visual
trating
Here she
sensibility.
about the genesis of the
talks
project, as well as her decision to
make
a film for
the small screen.
How
did this project
come about?
In part the story grew out of one
book
in particular,
Incidents in the Life of a Slave Girl, a slave narrative
woman who
about a
attic for
escapes slavery by hiding in an
seven years and watches her kids grow up
Having become
there.
mother
myself,
was
thinking about issues of motherhood and family,
but began to really hone in on the issues for

in prison.
women
started doing extensive research, look-
ing into places where theoretical issues around
women
in prison
From
ed.
and
social justice issues intersect-
that material
that was very rough.
pulled together a script
also did a lot of film research,
women in prison films, which range from

Pam Grier spectacles to documentaries, most of
looking at
the
which focus on the crimes committed.

The figures regarding the number
of single
mothers
in
prison are astonishing.

It's
the one thing regardless of race, color, creed, or
circumstance that
is
a big factor tor
prison nationally and internationally.
use this idea, and because of
do this
where
Dunye
sort of this thing

I
(right)
integrate
my
call
women
in
wanted
to
background,
try to
the dunyementary,
documentary and
coaching her cast on location
at the
fiction.
Bin
Shakopee Women's
Correctional Facility outside Minneapolis.
Above:
Newcomer Yolanda Ross
(left)
plays the daughter
who
gets
herself thrown into a high security prison in order to reconnect with
her imprisoned mother (Davenia McFadden).
June 2001
THE INDEPENDENT
33
needed
to
have access
to a
community
aspects or to get to the truth of
from Godard
in a sense. Luckily,
Walker Arts Center
in
was able to connect with the
Minnesota, and the wonderful curators
Dean Otto, Bruce Jenkins

Sheryl Mosley connected me
(who's not there now), and
there
Correctional
Minneapolis.
women
with
Facility,
prison
script inside
was
it
Women's
outside
just
inmates. Beyond the simple writing,
low up with time to make sure that
who know
Shakopee
with
women's
was able to take the
documentary
to get the
This search for truth comes
it.
and workshop
I
wanted
it
to fol-
right with the people
met
But
realized
HBO
it
really
wanted
wanted
women
lurid details, or the spectacle of
my
in
experience
is
me
important for
cable.
look a certain way.
my
Treasure's passion to
wanted my
Ross (pictured)
to
keep
it
film to
up.
beau-
Inside
about the
is
me make particular set design

my art director, and Frank Helmer,
helped
It
We
All of this
life.
sure
all
worked together
is
very important to
to bring
me
to
performances were
the
that
strong, but also to
make
sure that
looked
it
good.
Some
or even
of
your cast
members were
new
either brand
to acting or relatively new, including your lead,
Yolanda Ross, who's
have a
blood families fight to stay together
more than one member
real
in
terrific.
What were the
lenges you faced as a director
in this
chal-
sense, espe-
on a 24-day shoot?
cially
real-
Again, working with a budget opened up the
how
how
when
talked to the daughters or addressed

are created inside,
this
My choosing 35mm helped make the film
make
Pam
have covered mothers, but no one had

ly
communicate. Stranger
wardrobe/costume designer.
different flavor. Also, several documentaries
families
to
subjective as universal.
Grier films and the numerous documen-
on
make
to
to romanticize Treasure's passion, not necessarily
prison.
like
on 35mm
really the
only portrayal we've seen. Think of the
taries
to shoot
her world, but her passion and emotions, and this was very
a lot of
unknown actors
35mm came
stepped in with a budget, the choice of
decided
tiful.
had gotten back to the real down-and- dirty

on my own, maybe on DV or Super 16mm.
didn't want to repeat that process, and when
Jim,
For her sophomore feature, Dunye went with
wanting to know about their crimes, the
which
choices with Candi Guterres,
best.
There were two sets of mothers and daughters in the

That was groundbreaking for me. And I think in the past
news journal TV people had come to them
prison,
of
Before
idea of shooting
possibility of exploring all of these things.
sophomore filmmaker, you have
As
to think
how
to make it better than before. You

want to work with a large cast and
bring in more talent that's recognizable, or
you want to work with the truth of the pro-
about
gets locked up.
either
know
that you took the script around to various
DV production
outfits, with little luck.
How
did the
film finally get into production?
My
first
ducer or production company because

not want to produce the
ly
wanted
audience that would see
on
film.
knew
did
was able to take the
to integrate
new
inside
much
McKay
and workshop
it
with
audiences. Anyway, along
so
went
the
for
latter
option. This film
the
which made
simple writing,
comes
of
sure that
it
wanted
was
to
it
an
easy choice for the
production to bring
right with
friends with Jim
to
people
is
about real people,
of an attempt
C-100 and Maud Nadler, who was

make
and had just joined HBO. She said
she hoped that I'd consider HBO, and even though
the
I wouldn't get a theatrical release I'd get to show
the film to lots of people and communicate the
message. They both were really behind it. It took
me a while making your second feature, like all the boys, you
want to make it big, broad, wide, and star-studded. But I'm not
one of the boys, and the key for me was that the film was going
to be seen by far more people on television and that my audience
would dramatically change. And it all happened really quickly
after that with the help of Effie Brown, Michael Stipe, my wonderful DP Nancy Schreiber, and in post, my editor Cecily Rhett,
who all just understood the authenticity and the truth. Because
of the strong script, a really good process went into making it.
Jim
women,
script
women inmates. Beyond
think indie film today
that count. There's not
no one ever
sees, these invisible
real-
especially in terms of the

it. I
about people
is
that
to give this a shot at being bigger than
The Watermelon Woman,

fails
In this case, the truth
ject.
goal was to get the script to a pro-
who know best.
life
but a chal-
lenging one for

casting
my
director,
Aisha Coley. Casting

eral
weeks and not one Treasure came
both here and in

Yolanda.
We
New
in,
so
went on
for sev-
we had an open
flavored things up by combining actors you
know with ones
call
York, and bam, in walks the fabulous
that you might not
like
Medusa, who
is
may
one of
the inmates in the film and queen of the local rap scene here in
L.A. So mixing
You're often
in
work with the
it
up,
think, gave a fresh look to the film.
your own films, but you're not
actors,
and how did you
in this
feel staying
one.
How
did you
on one side of the cam-
era?
One
of the
which
is
most striking things about your
a stark contrast to the setting
film is
how
beautiful
THE INDEPENDENT
June 2001
is,
and characters, who are very
rough. Can you talk about your decision to shoot the film the
34
it
way you
did?
It
was good.
had reservations
The Watermelon
control.
And
Woman
at
first,
but things shifted from
to Stranger Inside.
taking a break from being
I wanted to have more

on both sides made it
what
easier to get
you look
wanted out of making Stranger
But
Inside.
if
How would you
your storytelling
What was
skills.
like
it
moving
more
into a
traditional
storytelling format?
real close, I'm in a scene in the film.
characterize your role as a director?
What was
a day on
Speaking in general, black filmmaking, indie filmmaking, queer

filmmaking: none of
has really explored anything but the box
it
the set like?
have numbers and be seen. But

what about exploring cinema and creating something different?
I wanted to do that, but I also wanted to play with convention.
So on the surface, this film has a message and a conventional
story. There are a lot of strong things in the film, and there are
office for a while, that drive to
we would
In an average day
workshopped with the
cast
some of the
integrate
some of the key
stuff that
we
scenes. I'd have a
and we'd go through how we had

quick
blocked the scene, then we'd make sure that we had a lot of
extras
it is a prison, after all. A lot of the extras were former
moment
my
with
talent,
some dialogue going on
prison inmates, so there was
wanted the
film to feel authentic, so
really felt at
home.
It
was
made
as
many
sure that people
just a hard-ass production.
hard on getting every scene from
and
there.
We worked
angles as
we
end of the day, we'd try to do something that was difThere are several dream sequences, and time-passing
moments, and
that everybody
would leave with something
women
the scene where the
surrounded by correctional
Medusa,
in full song.
for
We'd end the day with those
characters are singing.
ular,
moments where,
a few extra- diege tic
and
scenes, so
work camp
led by Leisha, played by
an amazing scene.
It's
example,
different. In partic-
are walking off to
officers
It
was something that
had been pushed from day to day, and when we finally shot
everyone was so blown away. It reignited everyone's passion.
Were there scenes
that
when
were more
The
scenes
was
really challenging.
Treasure
inmates and some are

get the two cameras
topic, go." It
is
difficult to
cast,
and
are real.
but everything
is
Some
that
are former
this
was amazing. There's a whole film there in
is
the
just that
footage. Incorporating the real real.
lot
we
that they're
sense Treasure's interior
really
doesn't speak much, but she doesn't

I
in
rougher and offer a good contrast to the more stylized scenes.
They're also the only time
seem
to
life.
are going to see!
the film
is
She
have the tough facade.
was very pleased that we were able to keep these scenes.
I'm amazed that this
And
wrote, and that's what people
don't think second time filmmakers, regardless
men
women,
on challenging
on the set. As an aside, I
don't know how many African- American women have made second features very few and I think I'm about the first lesbian
African American to do that. So I feel blessed all around!
of whether they're
or
get to keep
their creative process while they are
You told an amusing anecdote after the Sundance screening about
your casting
call specifically
how
noted that basketball playing skills were
needed, but none of your actors actually knew how to
play.
How
ing
Well,
much
larger basketball
component, but
then we discovered that both Yolanda and Davenia didn't play

well.
We
had
down some
scenes.
a stunt coordinator
basic moves,
And
and
who came and
also find
helped us get
ways to integrate the
fight
with those scenes we had two cameras going, and
again, just tried to keep
Knowing your body
guess as a young artist
of
it
never wanted to see television,
my youth watching everything and anything. But it

change for me in the late 1980s when ITVS and PBS
started
to
started
moving into the indie world, then along came Sundance

Channel and the Independent Film Channel, and we started to
see indies get into the box.
I
was doing something
And
was comforted when
different.
Cable
is
realized
And
not a bad place.
HBO is the cream of the crop. It's not your average television.
For me, filmmaking sometimes has to happen by any means necDocumentary filmmaking
dous cultural
We're
still
tary
in
general seems to be witnessing a tremen-
revival.
not seeing a variety of
stories,
but
filmmaking brothers and
sisters; they're
think documen-
my documenmaking some of the
changing the world. I'm so proud of
taries are
all
As someone who's worked back and forth across the documentary/fiction

line,
what do you think
is
On
a cynical side,
think
But
cles
also think
feeling
real.
work, this film seems to illustrate a flourishing of
the cause for this interest?

it's
because of the impending
strike.
the rise in yellow journalism and specta-
[it's]
and seeing the
real,
seeing the
the gun. Documentary, because of
its
fire,
camera
being in front of
style, its fresh
sub-
lends to that sensation that audiences feel
jects, its real people,
reinvigorated by what they are watching and feeling.

that [filmmakers] don't think about audience
still
argue
much. The way my
constructed really lets you as an audience member particYou can be entertained and learn and think at the same
and
time. That's exactly what one of my continuing passions is
film
is
ipate.
the result
it.
You're
is
that you're
left
left
with something, not just a receipt for
with something you can use.
think you're right, especially about the daring
end. There
had
directing specifically for television?
after
original script
is
just repeat-
it.
What were your thoughts about
did you
get around that?
The
and expanding our notion of narrative and not
fresh
best films.
Those scenes look very different from the rest of the film
a
stayed true to as a filmmaker. I'm interested in mix-
essary.
unrehearsed. We'd
"Okay, 20 minutes,
I'd say,
it
shoot than others?
group therapy sessions
in the
Those people
could,
at the
ferent.
things that
ing truth and fiction and really talking about storytelling that
sure
to
in
is
seeing a world that
know
that
move you make
at the
the sense of narrative pleasure, but there's also the plea-
someone
is
we
haven't seen before, and
out there doing the work.
it's
encouraging
Somehow
in
working
between the two worlds you've found a great position. What's up next?
I
want
to continue this kind of work.
derful scripts
and
stories
invisible people, that
Holly Willis
is
think there are some won-
out there, from the margins and the
we need
the editor of
to see.
Give them
RES Magazine and
to
me!
unites frequently
on independent and experimental film.
June 2001
THE INDEPENDENT
35
1
3
NOODLEHEAD NETWORK
BY
LlSSA GlBBS
NoodleHead Network, 107 Intervale Ave.

Burlington, VT 05401; (800) 639-5680;
Top NoodleHeads
Steve Fuchs
Stu
(r)
fax: (802)
&
McGowan
What
864-7135;
[email protected];
www.Noodlehead.com; contact: Steve
Fuchs (director of sales) and Stu
McGowan
(director of production)
NoodleHead?
is
NoodleHead takes the
stuff that
comes out
Top to bottom: Screen grabs
of
fron
Chinese News Stories, part
heads and turns
kids'
videos
videos that teach and
into
think.
We
made
with kids.
make you
of
it
a series
are distributors and producers
ol
where kids world-
j& wide report on location.
From Gangs
in
My
Town? Three Teens
What distinguishes you from other
Find Out the
distribu-
From How
tors?
we
First,
only distribute videos
made
Life
way
We have
that's self-sustaining.
base that looks forward
client
year after year. And for
in
a very loyal
it's
and Earn
the
Respect of Your Friends
From India News
Stories,
another on-location news
to our productions
new customers,
Deal
with the Jerks in Your
with kids.
There's no other organization that's doing this
Truth.
to
report produced by
a per-
NoodleHead Network.
suasive hook.
number
Total
of
employees
at
NoodleHead:
Three.
How, when, and why did NoodleHead
come
into
being?
When we
started about 15 years ago, kids' voices
were being
largely ignored in education.
The stu-
dent-centered classroom was not even a buzzword,
let
alone an occasional
a process
high-end videos while

to a
reality.
where kids could give
getting a
still
We
developed
their input into
message out
mainstream audience. And yet most
tapes had a very short shelf

tapes that had
seen
life.
of our
Where does the funding come from
Starting with three
About
combined audience
half of our
tapes are well-funded through
of
national, state, or local organizations.
maybe 500
people,
we used
traditional marketing
half are not, but
techniques and applied them to kid-made video.

Within
tapes
three
years,
had jumped
viewership for those three

to
was and
is
we
a real desire for students to see

ly
June 2001
to
The other
do them anyway,
with
We
owned business but we work close-
community groups, educators, and inde-
pendent producers.
THE INDEPENDENT
way
recoup some of the costs through distribution.
500,000. Things clicked.
videotapes that other kids help create.
36
find a
because they're important, and we know we can
are a privately
There
for
NoodleHead?
an educator stumbles upon
until
Unofficial motto or driving philosophy behind
horrible
NoodleHead:
into exclusive multi-year contracts
If
a video plays to an empty room, does
make
it
sound?
What are some
unique to the busi-
of the issues
themselves
stories of producers locking
pushes the video.
tributor never
Who
We've heard
it.
where the
K-12 schools mostly and some public
libraries.
right.
We've marketed two
utility
education departments and they are
it"
The big one
K-12 educators who
is
trust.
do "get
really
and purchase kid-made media, rough edges
and
The
all.
We
real bottleneck is in production.
need more tapes. Producers need
to
markets
of
if
in
the tapes are
24
some
of
AVID 1000/AVR77
out about the
titles
you han-
web
page, but
see that mak-
Newly reconfigured
dle?
ing a video for a wider audience doesn't narrow
We produce
their vision,
mid-town
hr building
our videos to electric
our best-selling tapes.
How do people find
DIVA
at
large rooms
with a view
Some day
lot of
AVID
dis-
rents/buys NoodleHead titles?
We'll go to other niche
we'll write a book.
*\
sad.
It's
ness of distributing youth-produced media?
There are a
a catalog,
we have
Easier for editing
makes them smarter producers.
it
there's nothing like five thousand good old fash-
to learn
ioned phone calls each year.
about NoodleHead?
Do you develop study guides
We have
room
a jungle
in
your
roaming
and
freely
real
accompany
to
As lone-time
AIUF members
our office with critters
grass growing on the
titles?
floor.
Yup!
How many works
are
our goal
your collection?
in
Biggest change at NoodleHead
in
is
to help
other independents
recent years:
25 (about two-thirds are NoodleHead Productions)

Stu has more tattoos.
Best known
How
NoodleHead's collection:
title in
Where
to
Make
Your
Own
will
NoodleHead be 10 years from now?
Great Videos with Just a
DIVA
Another 10 years ahead of most people.
Camcorder
NoodleHead Production).
(a
Other distributors you admire and why:
Works you
distribute:
branding
successful
Proving that
Nickelodeon.
Videos on video production, geography, health and

doesn't homogenize. There's a
guidance issues
interesting
of
lot
K-12 schools. We've self-pro-
for
educational stuff being packaged for the
duced most
of our
of
right
tapes and have also worked with

now.
Huey out
web
Edit
1-800-324-AVID
330 W 42nd St NYC
Maine, EVC
in
New
York,
It
could open up a
lot of possibilities
which
Jumpcut
we're watching.
Productions, and Vanguard Video.
How does
come
title
The best film we've seen

to
lately
was
be distributed by
The Ten Commandments. The whole spectacle
NoodleHead?
and arrogance
rides on the energy

It's
got to be educational, and generally that
short and to the point. Documentaries are fine, but
you can't expect

tion alone. In
great:
political
to
recoup your costs on distribu-
terms
of topics, core curriculum
yes;
stuff,
music, yes; original vision,
polarizing,
definitely.
no.
is
Original
Independent
producers find us via the Internet and through
in-
If
you could give independent filmmakers only
one
bit of
advice
on projects
we
distribute. This
interfere with your

It's
royalty going to producers.
Non-exclusive.
any one tape.
It's
It's
and rough
We
edit
comments. We wouldn't dare
ownership
of the tape or film.
yours, and that's the whole point.
Upcoming
K-12 schools with a
consult for free
has ranged from
dis-
tribution contract?
Distribution worldwide to
we
focusing on, to grade level recommendations, to
ented gatherings.
NoodleHead
simple nod to the subject area that producers are
script
of a typical
would be
it
To share. Speaking of sharing,
person contact at conferences and education-ori-
What are the terms
of the first hour.
means
25%
hold the inventory.
not about making a killing on
about re-purposing what you're
already doing and better supporting kids and better
all
watch
titles to
Ghana News
in
the tapes to us, and

editing
for:
Stories-, kids report
over the world
short
we
edit
on location from
news segments, send

them; a video on video
Famous
last
words:
Call us before
you make
(21 2)-21 9-9240
it.
uted by NoodleHead?
We're
tiny.
Any new tape
rises automatically to the
Lissa Gibbs
editor to The Independent
top.
You could have a large distributor handle your
tape, but
many times
it
gets buried
in their
EXCELLENT RATES
EXPERIENCED EDITORS
(NoodleHead Production); and a video on
claymation and animation produced by Huey.
supporting yourself.
Are there specific advantages to being distrib-
NONLINEAR /LINEAR
OFF LINE /ON LINE
BETA SP, DV EDITING
CD-ROM OUTPUT
is
a contributing
and former Film
Foundation Fest
Arts
director.
EMAIL:
[email protected]
catalog
lune 2001
THE INDEPENDENT
37
is
THE OPEN SOCIETY INSTITUTE'S

YOUTH MEDIA PROGRAM
ICHELLE COE
ated media.
www.soros.org/youth
Your driving philosophy
[email protected], [email protected]
that participating
Contact: Erlin Ibreck, Director
production help young people develop their expres-
Youth
comprise
Initiatives
as that seems to be
and creative
engage them
engaged
in
is
debate, the arts, and media
skills in
ways
that
empower and
activities
citizens
help
them
and prepare them
to
to
young people
and creative
There's
factors.
or
become
Institute
play an
lenging
part
all
be
openly
Many
of the
internships
to
development
However, the use
and
opportunities.
media
of
and
families,
their
ties
to explore
communi-
their
such as the juvenile justice sys-
tem, educational inequality, or police

brutality
can and often does inspire
many youth
ated and funded by George Soros,
more than 50 countries
in
can
issues that are impacting their lives,
part of network of foundations cre-
active
youth
interested
career
other
Society Institute's U.S. program. OSI

is
questions
logue and media analysis.
Open
the
of
and
youth media programs are connecting
the Education Initiative, and the Arts
groups such as
at
explored through intergenerational dia-
Program, the Urban Debate Program,
Initiative
in
The energetic
(Kentucky) create a forum where chal-
issues
Media
Youth
the
skills.
and mentors
staff
youth
beyond training
far
Video Machete (Chicago) or the Appalachian Media
are mar-
poverty
effective
of strong, visionary
basic technical and vocational
particularly
who
of color
through
The work
media organizations reaches
ment and leadership opportunities
ginalized
media can be an
traditional education models, particularly for
expression, creativity, civic engage-
low-income youth,
get
this col-
dependent relationship?
believe that youth
youth-at-risk.
exploring and testing social bound-
in
These
aries.
projects that promote critical thinking skills, self-
for
how young filmmakers
work made. Can you elaborate on
laborative, yet
more
grantmaking
several
video,
(i.e.,
youth development strategy and an alternative to
the Youth Initiatives Program?
is
media
national level, and raising visibility of youth-gener-
sive
What
of grants to organi-
a particular
You fund organizations rather than individuals,
We
Open Society Institute's Youth Initiatives
400 West 59th St., New York, NY 10019
(212) 548-0127; fax: 548-4656
in
radio, etc.).
their
BY
number
there a quota for the
zations working
in
to
become more engaged
community activism
or organizing.
around the world.
What do you look
When and why

Why
Youth
the
come
program
Initiatives
being?
did
tions
Erlin Ibreck
(I),
Director of Youth Initiatives, and Anna Lefer, Senior Program Associate
active part
areas:
priority
focused
an
its
arts
initiative
underserved
communities;
and the
Debate Program, which has sought
which
Urban
to institutional-
competitive debate as an extracurricular and
ize
academic
activity in inner-city schools.
we made
grants,
and
number
in
Media Program
1998,
In
of exploratory youth
media
1999 we established the Youth

to specifically
fund youth media.
Youth media places young people at the center

of public discourse: enriching debate, contributing
to the cultural context of issues,
their visibility to adults
their contributions.
It
and increasing
who oftentimes undervalue
also provides inner-city youth
with a forum where they can express their views
and the concerns that face
their
community. Our
program funds organizations that work with a

ety of
media
television
(video, radio,
newspapers, web
and photography)
Authentic youth expression
varisites,
THE INDEPENDENT
What percentage
your overall funding goes
must be
Our four focus areas
million.
We
is
$1.5
are: 1) strategies that
as a
tool to affect social
incorporate youth
distribution:
based, youth-generated news/media programs as
community,
news sources;
local,
2) collaborations at the
and national
level that
expand
of
Amendment
young peo-
expression, along
those rights and responsibilities; 4) documenta-
tion
about this
and/or dissemination of informa-
field that
informs those interested
in
programmatic, evaluative, and impact issues.
We
there
fund the strongest, most innovative proor projects that
is
fall
at
will
is
when
change. Strong candidates
aspects
of production
workshop
is
and
complete and
ready for presentation, youth pro-
present their work and facilitate panels
community screenings.
In
New
York City, for
zations (Global Action Project, the Youth Channel,
concurrent efforts to educate youth about
tion, publication
new video
ducers
i.e.,
in all
young people's
rights of
ple, especially their right to free
with
media pro-
example, young video artists from various organi-
perspectives by building audiences; 3) efforts to

protect the First
mission
how the orga-
in
the opportunities for young people's involvement
media and increase the value
in
nization uses both the process of the
generate or expand opportunities for community-
alternative
are also interested
duction and the dissemination of the final product
Currently our annual grantmaking budget
grams
June 2001
of
toward the Youth Media Program?
model
developing grantee networks at the regional and
38
the making of our democracy.
and work.
pilot projects,
via supporting
youth media organizations, seeding
in
grantmaking
increased access to the arts for young people living

in
for in organiza-
programs involving
central to the organization's
Originally, Youth Initiatives
two
their
youth and media?
into
did you decide to fund
film/video?
in
and
within our focus areas;
no set percentage of funding per area, nor
Downtown Community
Television
Center,
and
Educational Video Center) hosted and curated an

annual, city-wide youth film festival called Urban
Visionaries.
We
also look for organizations that have an inno-
vative and energetic staff, as well as a creative
curriculum that fosters and nurtures the
critical
thinking and communication skills of youth participants.
What
is
the average size of a grant?
Our grants range from about $10,000
to
$75,000;
however, at this time, the majority of our grants are
upon a variety
and the
project
scope
of factors, including the
AVJP PWCTS
smaller than $50,000. The size of a grant depends

of the
KHUNG YOU?
size of the organization. In addition,
Youth Media Program grants generally do not cover
equipment costs
Does your focus
who and what you fund
of
change from one year
RADICAL AVID for

Come
for projects.
to the next?
How
the
to
this
is
determined?
As we work
we
mission of our program,
to further the
continue to examine the impact of our grant-
making and
and revise our strategies.
to refine
We
RAM&fiÂVID
Broadway at 26th
1133
share conversations (with our grantees, other youth
mediamakers, other funders, and various media

help shape our focus areas and
experts) which
inform our long-term program goals and vision.
What has been the
ratio of applicants to recipi-
Media Composer 10.0
ents?
It
varies from round to round.
mass
sent out a
we
(RFPs),
instances
In
when we
30
many as 175
proposals,
full
awarded
and
cations
Hour
Fulltime
Editing Suites
Support On Site
of
letters
between 15-20 grants.
What are the
Spacious 24
mailing of Requests for Proposals
received as
invited
intent,
Street
(212)633-7497
Work In One of Our
or Let Us Install
Suites,
in
Your Edit Room.
(e.g.,
organizational mission, budget,
size, location, etc.)?
The Youth Media Program makes grants

projects
those having a fiscal agent that

will
support
to
based at non-for-profit organizations or
fund organizations
is
a 501(c)(3).
We
and geo-
of various sizes
graphic locations with similar missions. The organization
must be
in
healthy financial standing, and
must be sustainable, based
the project
in
the U.S.,
and incorporate people ages 12-21. Because OSI

interested
of
in
is
improving the lives and opportunities
youth with the greatest need, the program targets
Got Docs?..
We are looking for high-quality documentaries in
broadcast distribution.
CS
all
Associates has specialized
documentary programs for the past twenty
years.

in sales
organizations that work with disadvantaged youth
programs and producers ranging from Ken Burns to Jon
and youth
of color.
Are organizational projects funded at specific

stages of production? What
within which the funds
is
our guidelines, other than
stances. For example,
New
in
on our website www.csassociates.com
the time frame
one-year period.
Funding production of specific videos or films
funded eight
Else to Martin Scorcese.
must be used?
Our grants generally cover a
of
Please review our catalogue
and pre-sales of
We represent a wide variety of
in
the
is
out
exceptional circum-
summer
of
1999 we
York City organizations, two of
which were video projects,
to
produce media prod-
ucts that would explore teenagers' experiences with
death.
In
2000,
we funded
In the Mix, the teen
series
shown on PBS
and
produce something for a national audience.
to
How many
stations, to extend this
organizations'
projects
work
have you
funded since your inception? How have those

projects typically found their audiences?

tel:
78 .259.9988
e-mail:
fax:
78 .259.9966
1
[email protected]
to Brian Gilbert, Director
Fune 2001
of Acquisitions
THE INDEPENDENT
39
we have made 74
Since the program's inception,
Call
24 th Star z Encore
For
Entries
grants to 56 different organizations. Most projects
Denver
found their audiences through collaboration with
International
other like-minded organizations
Film Festival
community they
created
October 11-20
SUBMISSION DEADLINE:
July 15, 2001
and beyond the
in
has
inhabit. Of course, the Internet
greater
opportunities
for
distribution,
enabling the audience to be extended through this
convergence
of
types of media.
all
What has been the general response
broadcast
of
for final approval.
or exhibition entities to projects of young film-
ShortsFeaturesDocumentaries
35mm16mmvideo
makers geared toward younger audiences?
There
tions in putting forth a strong application?
an increasing interest
is
in
young people's perof
new
Have a vision
into
youth voices. Carefully review the Youth Media pro-
festivals are increasingly
gram focus areas. Follow the proposal submission
incorporate youth-produced
to
Starz Encore People's Choice Award

For Best Feature-length Fiction & Documentary
mainstream venues. Film
John Cassavetes Award
bringing
incorporating the work of youth
them
to
media organiza-
media
number
spectives and there have been a

efforts
for
videomakers, or
these venues to learn from the adult
For Achievement in Independent Filmmaking
masters: the Sundance Film Festival hosts a Gen-Y
Krzysztof KieslowskiAward
studio for young people interested
in
for strengthening
and amplifying
guidelines.
We
email us
they have any questions or concerns
if
encourage applicants
to
or
call
about their proposal.
filmmaking.
What
is
common
the most
mistake applicants
For Best European Film
make?
Explain your funding
Inquiries to:
cycle and deadlines.
Denver Film Society

1430 Larimer Sq.
Suite 320
Denver, Co 80202 U.S.A
[email protected]
www.denverfilm.org
only
receive appli-
that
are
engaged
in
not
youth
media as
their central
activity,
and
and are
proposals
or
tions
letters of intent
licited
we
cations from organiza-
unso-
accepting
not
Often
moment, we are
At this
considering
re-
requests
or
have not read or have
from
ignored the guidelines.
newal
invited proposals
clearly
group or organizations
What would people

that can help to devel-
VERMONT
most be surprised
EVC's Yo-TV producers at work
to
op the infrastructures
learn
INTERNATIONAL
FILM FESTIVAL
to
We
support youth media.

the
in
and/or
founders?
its
fall.
we each have
Although
Who
Youth
anticipate sending out

Initiatives
an RFP
about
Program
are your
Admin-
or
Officers
istrators?
Youth Initiatives Program,
Erlin Ibreck, Director of
and
settings,
the
field
none
Urban Debate
transformed us
and advocates.
the
Initiative,
a variety of contexts
in
us had previously worked
of
in
media. Our work has successfully
of
Program, and the Youth Media Program); Anna
(including the Arts
a great deal of experience
working with young people
into
dedicated youth media fans
Senior Program Associate; and Gladys Lopez,
Lefer,
Other foundations or grantmaking organizaProgram Assistant.

tions you
How
are organizations and their projects eval-
uated? What
is
the review process?
Staff review initial inquiries
determine
Based on
eligibility for
this,
and
tions;
letters of intent to
submitting a
groups are invited
to
full
proposal.
submit
full
pro-
admire and why.
We admire
box,
those
the individuals behind the organiza-
who
and are
means
are risk-taking, think outside the
willing to challenge
taking on their
own
even when that
organizations or other
colleagues.
...
CRLL FOR ENTRIES

mm and pence. th nvironmnt
HUMAN RIGHTS HMD
JUSTIC
posals, which are then evaluated by outside read-
ers
who examine
Famous
last
words:
organizational and project bud-
"The greatest wealth

gets,
samples
of the
mergers
financial statements
and
staff
of giant corporations or the possibility of
resumes. During the

further globalization
D6ADUN6
JULV 15 2001
proposal review stage, staff
meet
Main
St.,
Suite 307, Burlington Vt
05401
[email protected]
40
THE INDEPENDENT
June 2001
conduct a
project staff, youth participants,
additional
UJUJUJ.Vtiff.org 802.660.2600
will
Media
of the
infrastructure of the
site visit
world.
to
of this nation is not only the
youth-produced work, audited
In
the United States, our greatest single
and any
source of wealth
is
young people. Not
to
the minds and talent of our
community stakeholders. The Youth
staff then
prepares a docket of recommendis
ed grants that
is
a crime."
use
it
is
stupid
to
waste
it
Isaac Stern, musician
reviewed by the Director of U.S.
Programs, and ultimately by the President
of OSI
Michelle Coe
is
the Program Director at AIVF.
(~^^sx^)
we recommend
600, Chicago,
St., Ste.
Scott Castle
by
june change after the magazine goes to
month two months
press. deadline: 1st of the
prior to cover date (aug.
for
[email protected]
included.
indie
Sept. 29-Oct. 6, CA. Deadline: July 9. Fest

abstract, lyrical, romantic,
and
children,
&
$35 (20-50
$20 (under 10
Watching
min.);
in
$25 (10-
min.);
3456;
to foreign
& doc
features.
Minimum
60 min. Categories focus on independent fea-
13-15,
NY.
of the
5th
16mm, 35mm, 70mm. Preview
East Hallam, Ste. 102, Aspen,
on
VHS (NTSC
&
BLUE SKY INTERNATIONAL FILM FESTIVAL,
16mm,
Formats:
Washington
1/2", Beta
St.,
Brooklyn,
$30
fee:
Contact:
doc,
&
&
video
after 5/1/00.
animation.
short,
$12,000
totals
Awards:
(feature);
$25
in
Ste.
Las
2009,
NY 11201; (718) 624-3772
is
8,
Beta SR
$10-$30
Formats:
topic.
int'l
all
all
bud-
genres of work
(film,
a competitive casual atmosphere.
Cats
60
min.), experimental, animation,

projects.
$25-$35.
Entry fees:
Format & preview on VHS (NTSC). For appl. & registration
packet
send
Films,
s.a.s.e.
to-.
FirstGlance
L.A.,
c/o
Box 571105, Tarzana, CA 91356;
www.newimaging.com
film festival in N.
is
Oct. 4-18,
C,
in int'l
madcat
Square Park, NYC & exists
35mm
complete
ing;
all
& independent cinema by
short
& new
directors
int'l
video entries for the "Southeast's premiere showcase
of
independent film and video." Cats: feature, doc,
featur-
(under 30 min.),
plus
New
music video. Awards given
short
(30-60
35mm.
since
Jan.
1999.
$30 (under 20
min.);
processing/developing/prints/dailies. Formats:
35mm, 16mm,
VHS. Entry
music video showcase); add $10
in
separate
prizes
for
docs,
student
6090;
shorts. Chicago
is
the first U.S. fest to
& 2nd time
award the
FIPRESCI prize
for 1st
3/4" U-matic,
VHS (NTSC,
35mm, 70mm.
Preview on VHS. Entry fees: $100 (fea-
$80 (doc
30-60
Beta SP DV, DigiBeta. Beta. Preview on
MSFR 630
fee: $30. Contact:
9th Ave.
#901,
NY 10036; (212) 613-5878; msfilmfest
York,
aol.com; www.msfilmfest.com
MICROCINEFEST,
Oct.
31-Nov
MD. Deadline:
4,
July
31. Annual fest turns audiences on to ambitious, low-
underground films & seeks films w/ "sub-
budget,
stream/ psychotronic bent that display

nality,
entertainment
&
creativity, origi-
a wise use of funds." Cats:
Any
style or genre, doc, short, animation, experimental, fea-
Awards: Audience Choice, Low Budget Award
ture.
the coolest video

for
made
under $1,000.
35mm,
vhs, 3/4",
VHS. Entry
fee:
= $8).
under $100; and film
for
8mm,
Formats:
super
to
made
16mm,
8.
BetaSR miniDV, and DVD. Preview on
$15 (30 min. & under); $25 (over 30
&
under, mutiply
number
of min. by
Contact: Microcinefest, Skizz Cyzyk.
feature);
min.);
$40
$30
fax:
each
227-1083;
$25
min.);
5307; [email protected]; www.microcinefest.org
NEW YORK COMEDY FILM

laugh
& seeks submissions
min.), feature
& animated
(student);
Feature, Best
Comedy
$20
(Eyeball
FESTIVAL, Nov. 7-10,
Deadline: July 15. Fest salutes the people
16mm.
Formats:
early,
$40 (over 20
Contact: KFR Box 1861, Athens,

competition;
in
Turner South Award. Works must have
been completed
narrative, student doc, student experimental, student
(short
film;
digital edit-
annual fest accepting film
directors.
animation. Awards: Gold Hugo, for best feature film
ture);
style or
35mm
weeks
pkg; eight
can be no
any
length. Cats: short,
camera
NY.
Union
in
filmmakers w/out backing
for
or resources to create a feature film. Films

in
23,
Sept.
Deadline: July 31. 4th annual fest wil be held
2 (4 min.
&
America spotlighting
min.), experimental, short animation, short doc, student
&
934-
fax:
www.somaglow.com/
Oct. 18-22, GA. Deadline: July
the oldest
cat,
ing both established
feature,
entrants
int'l
Steiner St. Apt.
San Francisco, CA 94117; (415) 436-9523;
0642; [email protected];
min.); films 7 min.
(early); Aug. 3 (final). 4th
short, animation,
the latest work
MCFR 639
Box 50098, Baltimore, Maryland 21211; (410) 243-
Deadline: July 31. 37th annual event
competitive
pay what you can afford;
(sliding scale,
disregard entry fee). Contact:
New
& videomakers w/
to exhibit
music video, student
20
films
x.
2:
KUDZU FILM FESTIVAL,
CHICAGO INTERNATIONAL FILM FESTIVAL,
int'l
30
feature (over 60 min.), narrative short (under 60
Firstglance
Rd.,
www.bsiff.com
Cats:
SR S-VHS. Preview on VHS.
productions) from mainstream to con-
digital
& animation).
doc
(short,
4185 Paradise
35mm, 16mm, Super
3/4", S-VHS, VHS. Preview on VHS. Entry fees:
any
NV 89109; (702) 737-3313; [email protected];
Vegas,
IL.
less.
D.U.M.B.O. Arts Center,
professional film
Best
postproduction ser-
in
Beta SR VHS, 1/2". Preview on VHS. Entry
BSIFF,
part
is
Under the Bridge
624-0867; www.dumbo artscenter.org
FIRSTGLANCE LA.
in
non-cash prizes also awarded. Formats: 35mm,
16mm, DVD,
to
$20. Contact:
min.), doc (under
vices;
video event
NYC's five boroughs. Works must be 30 min. or
incl.
award
genres and lengths directed
all
genre. Cats: short. Awards: 54,000 feet of
designed
gets. Fest's mission
video
of
story-
women. Films can be produced any year and about
by
living in
following cats: feature, short, doc, anima-
feature,
&
Art
Sept. 27-
&
accepts work of
telling;
of visual
pendent & experimental film & videomakers
is
troversial
Director's
Film
3.
D.U.M.B.O.
Early Nov, CA. Deadline: July 15. Fest encourages both
30, NV. Deadline: July 21. Fest accepts film
sound & image and explore notions
longer than 10 min.
student
Cats:
annual
Oct.
CO 81611; (970) 925-
pen.com/filmfest
5th annual fest
of inde-
110
925-1967; [email protected]; www.as
Film
CO 80202; (303) 595-
5.
seeking films and videos that challenge the use
is
showcase the work
2; fax:
tion.
1430
Denver Film Society,
Deadline: Aug.
Entry fee:
in
3/4".
SHORT FILM AND VIDEO FESTIVAL,
docs: drama, doc, comedy, children, animation.
genres
35mm, 16mm,
MADCAT WOMEN'S INTERNATIONAL FILM FESTIVAL,

Sept. 4, 11, 18, 25, CA. Deadline: July
MANHATTAN SHORT FILM FESTIVAL,
language films
or PAL). Entry fee: $35. Contact: AFF, Brad White,
all
U.S. distribution
595-0956; [email protected]; www.den
fax:
CA
Berkeley,
St.,
verfilm.org
FEST, Oct. 3-7, CO. Deadline: mid-July.
presents the latest narrative
fax:
film, the
most popular feature-
for
films. Formats:
DIFR
Contact:
D.U.M.B.O.
in-person tributes and special presentations, fest
6882;
Awards
Larimer Sq., Ste. 320, Denver,
$50 (over 50 min.) Con-
w/out
to best indie film
& doc
European
for best
Preview:
Festival
Formats:
Lifetime
incl.
the Dark, Box 548, Hollywood,
From American independents
&
animation,
doc,
Preview on VHS (NTSC/PAL). Entry fees: $35; $20 (students).
16mm.
length:
& shorts
of int'l film artists are
Awards
short.
Award
the People's Choice
soundtracks without dialog, and
or DVD. Entry fees:
ASPEN FILM
Cinema Award
wild, nonsensical films.
Hollywood. Cats: silent
to
Formats: VHS, DVD, Beta SR
tact: ALFVF,
looking for
is
length fiction
non-Hollywood
films, films featuring
tures
number
1610 5th
Clif Bar,
animation,
docs,
programs
children's
addition, a
In
Aspiring Heights c/o
94170; [email protected]; www.lunabar.com
&
films
fiction
works,
on VHS. Entry fee: $20. Contact: Lunafest, Allison Levy,
releases,
int'l
Achievement Award, the John Cassavetes Award, the
artists and lovers film and video festival,
to
New
host to more than 75 film artists.
Krzysztof Kieslowski
Oct. 11-20,
150 films over 10 days & plays
film presents approx.
honored w/ tributes. Cats: feature,
Domestic
20 min.)
worn-
of
CO. Deadline: July 15. 24th annual invitational expo of
experimental,
VHS
to assist
promote awareness & education
and student shorts. Films should be no longer than 75
DENVER INTERNATIONAL FILM FESTIVAL,
experimental
talkies.
Cancer Fund
ens' health. Cats: short, doc, feature, fiction, narrative,
cutting-edge
Inviting the
benefit The Breast
will
filmfestival.com
oct. issue),
to:
from fest
their efforts to

entry fees, deadlines, formats & contact
send
fax:
min. Awards: cash prizes. Formats: VHS, Beta. Preview
info.
60601; (312) 425-9400;
IL
425-0944; [email protected]; www.chicago
Formats:
of
for final deadlines.
$20 (shorts under 30
min.);
NYCFF, 126 West 23rd
St.,
www.prometheus-x.com
293-0770
x.
Awards: Best Comedy
Comedy Animation.
GA 30603; (706) 227-
[email protected];
funny shorts (under 13
films.
Short, Best
35mm. 16mm.
NY.
who make us
$25
New
(features). Contact:
York,
NY 10011; (212)
246; fax: 293-0771; [email protected];
www.nycff.com
directors. Preview on
PAL, or SECAM),
(short under
(student).
16mm,
30 min.) $50
LUNAFEST, Oct.-Dec, CA. Deadline:

films by
interest
women,
can
for
July
1.
Fest seeks
women & about women. Areas
incl. culture, diversity of
of
people, adventure,
Late fees: $20-
$100. Contact: CIFR Cinema/Chicago, 32 W. Randolph
sports, the environment, spirituality, inspiration, chal-
lenges, relationships,
and breaking
barriers.
Proceeds
NEW YORK EXPO OF SHORT

NY.
Deadline: July
1.
FILM AND VIDEO,
35th annual event
longest-running short film fest and seeks

mation, doc
& experimental
should be under 60 min.
June 2001
film
&
is
Nov..
nation's
fiction, ani-
video. Films/videos
& completed
since
1999.
THE INDEPENDENT
41
(i^c^-y^S)
Student &
NY
the
welcome. Awards:
entries
int'l
shown by teams
selected to be
community are considered
film
Winners. Films are further awarded Gold,
& Best Debut

and
their respective cats;
in
films
All
of top professionals in
Jury
Award
Silver,
Bronze
kind service
in
SR
digital
early,
Betacam, DVD. Preview on VHS. Entry fees:
$35 (35mm); $25
dent, any format);
10942 Encino
OFF,
add $10
Dr.,
$20
other formats);
(all
(stu-
for final deadline. Contact:
Oak View, CA 93022; (805) 649-
SAVANNAH FILM AND VIDEO FESTIVAL,

GA.
3,
domestic &
16mm,
on
VHS.
women's issue
Preview
MadCat Women's
fee:
International
Festival curate their unique
view tape
grams
Anne
NY
7742;
$20
586-6367;
the films that preceed and follow. MadCat also
5051;
making stops
edition,
latest
Lawrence, and more. See
Georgetown, Duke, Penn State, Smith, Sarah
at
listing.
&
film
annual fest
7th
30.
video from throughout
PORT OF HUENEME INTERNATIONAL FILM FESTIVAL,

13-16,
Sept.
CA.
Deadline:
July
Fest
15.
Beachfront Studio, an independent film studio

center,
ages features. Approx. 60-70 works screened. Awards
the U.S. without sacrificing quality. Preview on
Best of Fest, Most Creative Cinematography, Best

Best Screenplay, Best Doc, Best Short.
works must have been completed
60 min.)
SR
Beta
1/2".
to less thah
$35 (60 mm.
after 1999. Formats:
30 min.) $30 (30 min.
(less than
All
more).
or
Northampton Film Associates,
Contact:
NFF,
351 Pleasant
Inc..
#213, Northampton, MA 01060; (413) 586-3471;
St.
and was founded
to
Best
Digital Feature.
&
location
Aug.
(late).
provides a unique networking
&
is
supporting, growing
fax:
Dr.,
Port
16mm w/
genres.
&
fees:
$15
fees
are
&
Founded
exhibition
1994, fest
in
35mm, 16mm,
$75
(U.S.);
(int'l);
DV.
$100
575
E.
Hueneme, CA 93065; (805) 488-2787;
space
for indie
(i.e.,
mixed format work
$20
& super
video
visual art
art,
award
cash
double.
in
community, as well as
music & other
(e.g.,
8,
1/2".
8).
Accepts fea-
installations;
Best
for
of
the
all
Fest.
(feature, over
Contact:
&
in
OIFF,
20
min.); late entry
Annetta
Marion
(early); Aug. 1. (final)
& 45
entries will be selected (55 features
2000)
programming
for diverse
feature,
Cats:
in
doc,
Cleveland,
Gillota,
Exec
OH 44102;
Dir,
1392 West 65th
foreign cine-
shorts
shown
9 theaters.
short,
No
animation,
experimental, children. Awards: Audience Awards for
Best Feature, Best Short, Best Doc

Formats:
35mm, 16mm,
Entry fees: $25;
Contact: RBIFF,
Beach,
$20
3/4",
& Best Debut
Film.
Preview on VHS.
1/2".
(students), $5 less for early entry.
4493 Highway One,
Ste. 63,
DE 19971; (302) 645-9095;
fax:
Rehoboth
645-9460;
[email protected]; www.rehobothfilm.com
Sept. 28-30, CA.
#389, Los
Blvd.
OJAI FILM FESTIVAL, Nov. 8-12, CA. Deadlines: June 30
"Enriching the
Human
videos of any length,

are welcomed.
Theme
Spirit
in
for this year's fest
is:
Through Film," but films &
any genres, and on
all
subjects
presented 18 world
2658
SLFF,
SYRACUSE B-MOVIE FILM FESTIVAL,

Deadline: July
1.
ductions
entertainment value.
in
w/
but films
made
form
to feature-length narratives,
by or about Asian
avail,
from web
site.
&
NY
doc, animation.
short,
ture,
"Best of"
All
genres welcome,
"defined narrative" preferred. Cats: fea-
cats.
Awards given
Formats: VHS,
in
several
S-VHS,
Hi-8,
Preview on VHS. Entry fees: $25 (shorts
1/2".
& animation
under 55 min.); $35 (over 55 min.). Contact: SBMFF,

c/o
Sub Rosa Studios, Box 5515, Syracuse, NY 13320;

454-5608;
(315)
478-1410; webmaster@b-
fax:
movie.com; www.b-movie.com/ hof/fest.html
TELLURIDE FILM FESTIVAL,
Aug.
31-Sept.
Deadline: July 15. 28th annual fest, held
mountain town, celebrates the
in
3,
CO.
a Colorado
art of film, selling out
each year with over 5,000 film afficionados arriving
mately
40+
& mixed genre works

Americans. Entry
Cats: feature, doc, experi-
mental, animation, mixed genre works. Awards
incl.
&
filmmaker
film events, tributes, seminars,
sional
Pacific
Sept. 8-9,
Fest celebrates the low-budget film
sented by the Asian American Journalists Association
docs, experimental, animation
Park
Griffith
CA 90039; (323) 221-1763;
&
parties.
Open
to
all
profes-
non-professional filmmakers working
in
all
aesthetic disciplines: documentary, narrative, anima-
experimental, etc. Features
tion,
and lengths are
&
shorts of
eligible for consideration
are premieres. Formats:
16mm, 35mm,
all
styles
provided they
3/4", 1/2", S-
VHS, Beta, Beta SR DigiBeta, Hi-8, DV, U-matic, DVD.
$55
the following cats:
Best Feature, Best Short, Best Doc, Best Experimental,
Preview on VHS. Entry fees: $35 (19 min. or
Best Dramatic Feature, Best Dramatic
and Grand Jury Award. Formats: 16mm, 35mm, Beta
(20-39 min.); $75 (40-59 min.); $95 (60 min. and
SR Preview on VHS.
over);
Awards
will
be given
in
Grand Jury
Prize,
Short, Best
Doc Feature, Best Doc Short, Best Animated
Film, Best Student Film, Best Experimental Film, Best
Cinematography, Best
THE INDEPENDENT
Entry fee:
$15
(incl.
s.a.s.e. for
tape return). Contact: SDAFF, Entry Coordinator, c/o Duy
&
Film
Nguyen, 4395 70th
35mm,
Beta
(858) 616-8525; [email protected]; www.sdaff.org
Editing, Best Screenwriting
Best Exemplifying Festival Theme. Formats:
42
Angeles,
conversations, picnics
San Diego, seeks short
Lake
cinema,
in
www.silverlakefilmfestival.com
(216) 651-7315; fax: 651-7317;
(final).
roots
historic
Preview on VHS. Entry fees: $15 (features & shorts);
$30 (screenplays). Contact:
Deadline: July 15. 2nd annual competitive fest, pre-
of
31
its
arts. Last year's fest
St.,
[email protected]; www.ohiofilms.com
(early); July
creativity of the Silver
from around the world. Program consists of approxi-
&
SAN DIEGO ASIAN FILM FESTIVAL,
Bernadette
&
event that
multi-cultural
int'l,
& edgy
that rivals or surpasses big-budget mainstream pro-
FESTIVAL,
a picturesque coastal resort setting. Approx. 100
repeat entries.
16mm, super
(short);
ma
in
legitimizing indie filmmaking. Fest
4th annual fest celebrates independent
professional arts org. dedicated to
videos, pert
Awards:
Formats:
an
fest
doc, experimental. Awards: Jury prize, Silver Lake prize.
REHOBOTH BEACH INDEPENDENT FILM
accomp. soundtrack on cassette) & work
mediums
non-trad
ture films
2nd annual
VHS (NTSC
Awards: Awards
986-9970; [email protected]; www.phiff.com
&
works-in-progress,
exhibits
&
shorts); July 15 (screenplays); Aug.
fax:
OHIO INDEPENDENT FILM FESTIVAL, Nov 6-11, OH.
filmmakers
Sept. 14-
premieres and 35 LA premieres. Cats: feature, short,
(screenplays). Contact: PHIFF, Beachfron Studios,
DE, Nov. 7-11. Deadlines: July
1;
filmfest
June 15 (features
reflects the diversity
584-4432; [email protected]; www.nohofilm.org
Deadlines: July
c/o
in
Best Cinematography, Audience
Choice, Best Screenplay, etc. Formats:
Surfside
at
encourage indie filmmaking
or PAL). Cats: feature, doc, short, script.

incl.
held
is
mental, animation. Competitive, juried event encour-
$25
525-5052;
fax:
(festival trailer contest).
the U.S., from shorts to features; narrative, doc, experi-
35mm, 16mm,
SFVF,
and Design, Box
its
is
MA. Deadline: June
showcases independent
fees:
of Art
scad.edu; www.scad.edu/filmfest
FILM FESTIVAL, Oct
First Feature,
Contact:
(students).
17, CA. Deadlines:
NORTHAMPTON
incl.
35mm, 16mm,
Formats:
SILVER LAKE FILM FESTIVAL,
tours across the country with selections from
www.nyexpo.org
4,
compet-
all
the festival; pro-
3146, Savannah, GA 31402; (912) 525-
[email protected];
31-Nov.
in
student works are judged
Savannah College
Mind" and "Retraining the
audience while contrasting and complementing
fax:
videos
video. Preview on VHS. Entry fee: $40;
works
505-
(212)
&
separately.
Frame." Such eclectic programs challenge the
NY
York,
&
films
fessional
pro-
such programs as "World
in
of the
Travellers
itive
Film
festival's
thematically. Last year's diverse
were included
163
Ave.
New
10023;
Expo,
Dir.,
Amsterdam
107,
$5.
incl.
Borin,
are selected by judges from
the organizers of the
films,
$40, for return of pre-
Contact:
schedule with
filling their
video
Entry
crit-
filmmakers. Cats: feature, short,
animation, doc, student. Award winners
Rather than simply
projection).
&
ics
The Outlaw Josie Wails
Beta SR super
in
spe-
incl.
screenings, lectures and panel dis-
cussions by industry professionals,
35mm,
(shown
encouragement
student productions. Fest
of
cial
awards also given.

Formats:
independent filmmakers and supports
int'l
stock
film
Oct. 27-Nov.
Fest presents the best of
1.
a student competition dedicated to the
and celebration
4000; [email protected]; www.filmfestival.ojai.net
Aug.
Deadline:
June 2001
St.,
Ste. 22, La
Mesa, CA 91941;
State
fax:
$25 (student
St.
films,
less);
any length). Contact: TFF 379
#3, Portsmouth, NH 03801; (603) 433-9202;
433-9206; [email protected]; www.telluridefilm
festival.com
Support
supports you.
Since 1973, the

From leading the
has worked
and we're
movement
still
going at
it!
to establish the
SAG
tirelessly to
to
working with
agreement
for indie

outside the
Regional Salons
community.
Our
field.
And each
issue of

magazine
is

In this
it's
stand together
to
member
and access
to
group insurance plans.
visit
or call
us
atwww.aivf.org
212/ 807-1400
TOTALLY
...
VERMONT INTERNATIONAL FILM
FESTIVAL, Oct. 18-
Deadline: July 15. Going into 17th year, test
21, VT.
& issues
images
presenting
devoted to
change. Categories: War
&
& Environment.
accompanied by other
Fest
is
social
for
Peace, Justice/Human Rights
video events at 7 different venues. Awards given

cat.
Formats:
8mm,
S-VHS, Hi-8,
Beta SR 3/4", 1/2",
Ste. 307,
St.,
660-2600;
(802)
each
in
Preview on VHS. Entry fee: $65.
DV.
One Main
Contact: VIFF,
05401;
35mm, 16mm,
Digital,
&
film
viff@
860-9555;
fax:
VT
Burlington,
w/ focus on music
Today the
in film.
jury selects
int'l
winners from features from around the world (many
them w/out
a Belgian distributor). Fest incl. films from
&
over the world, mainly focusing on fiction films
all
&
lesser extent on docs. Shorts, animation
are
tives
of
also
Attendance
incl.
approx.
is
to
retrospec-
80,000.
Competition: "The Impact of Music on Film," Out of
Competition
Spectrum
Memory
section
Country
incl.:
Focus,
&
of Film (retrospective section)
Film
premieres),
Belgian
receiving
films
(int'l
a tribute to
an
important filmmaker. Sep/mag prints are, for technical
sover.net; www.vtiff.org
VHS (PAL
reasons, not accepted. Preview on
w/ documentation
Foreign
of
NTSC)
or
B/W
stills,
Cats: feature, doc,
short.
(pressbook,
film
has a small 'Foreign
BAHIA FILM FESTIVAL,
tor,
producers, subject, etc.)
Awards
incl.
&
motto of fest
is
market.
(1
28th
In its
Delerue Award for Best (application
open
ed. fest
Ibero-Amencan
prods
&
incl. film
about
Amer.
Latin
SAINT HILAIRE DU TOUVET INTERNATIONAL HANG
GLIDING
subjects.
video conquest, retros, symposia
&
Beta SP Preview on VHS. No entry fee. Contact: FIFE
Wim De
Market takes place during
exhibitions, expositions.
wind and the
&
all
Kortrijksesteenweg
Witte,
fest;
an alternative space for com-
"to create
is
&
mercialization
int'l
&
distribution of exp.
ind. film
&
221 90 74; [email protected]; www.film-
20-23,
Sept.
France.
flight
films concerning
all
forms
the
air,
of flying
hang
gliding, sail planes,
non-motorized flying
of
&
wind).
base jumping,
(incl.
&
boomerang,
kites,
kites
films concern-
genres accepted. Max. length
All
30 min. Formats: VHS, DVC-Pro, DV-Cam, DVD, Beta SR

DigiBeta. Preview on VHS. Contact: SHDTIHGFF, Saint-
B-9051,
1104,
FESTIVAL,
paragliding, hang-gliding, skydiving, hot air
forms
Hilaire
du Touvet Tourism
Tovet,
France; Oil 33 4
Ghent, Belgium; Oil 32 9 242 80 60 (77); fax: 32 9

objective
FILM
Deadline: July 15. Fest seeks films related to the
ing bird flight
16mm, 35mm, 70mm,
approx. $11,085). Formats:
The
[email protected]; www.filmfestival.nl
Music (500,000
of)
Ibero-American prods as well as non-
to
BF.
Program
& George
approx. $22,170)
BF,
VHS.
Utrecht,
Netherlands Oil 31 30 2322684; fax: 31 30 2322684;
Flemish Community for
Prix of the
,000,000
on
Preview
NFE Box 1581, 3500 BN,
Contact:
ultra light
Best Film
Humanistic World)
Grand
More
(For a
which foreign
be invited. Cats: fea-
will
docs & TV prods.
shorts,
tures,
gas balloon, sailplane, base jump,
Sept. 12-19, Brazil. Deadline:
Mundo Mais Humano"
July 31. "Por Urn
bio).
films can be entried. Fest
Affairs' section, for
films with a considerable Dutch aspect (actors, direc-
sports:
reviews & director's
& ONLY Dutch
film festival
Office,
38660 Saint
7608 3399;
Hillaire
du
33 4 7697
fax:
festival.be
video
Market
prods."
promotional
disseminate
will
materials sent by participants. Cats: Any style or genre.
Awards:
Ouro
de
Tatu
film/video
made
film/video
tion/exp.;
prizes
following
in
cats:
anima-
film/video
film/video-fiction;
doc;
non-lbero-American
by
VHS (max
the
Nepal. Deadline: June 30. Fest, located
short film event of Berlin. Films
int'l
videos no longer than 20 min. are
Dir.;
limit
There
eligible.
on South Asian subjects
Awards:
experimental.
Formats:
35mm, 16mm, super
Preview
on
fee: $50,
payable
Contact:
60 min.). Entry
Best
to:
12
(market). Contact: BFF, Guido Araujo,
Barao de Geremoabo
Campus
s/n,
Rua
dir.,
S-VHS, Beta SR
8, 1/2",
Tempelhofer Ufer 1A,
de
Universitario
Ondina, 40. 170-290 Salvador, Bahia, Brazil; Oil 55
Germany: Oil 49 30 693 29 59;
fax:
entry fee.
10961
is
res
made
Awards:
entry
fee.
Images,
all
2000/2001. Cats: any
in
$15,000
matic, Beta
Nov. 2-11, Switzerland.
Biennial fest seeks artistic video
experimental films of
artistic
cash
in
lengths
& gen-
or
genre.
style
Formats: VHS,
prizes.
U-
SR DVD, 16mm, 35mm. Preview on VHS. No

Contact:
BMI,
Centre for
Contemporary
du Temple, Geneva, Switzerland CH-
rue
1201; Oil 41 22 908 2000;
41 22 908 2001;
fax:
[email protected]; www.centreimage.ch/bim
largest
&
Europe. For several years,
invitational
it
film
fest
in
has programmed one
of
int'l
features
Shorts
incl.:
France,
& 100
short films showcased. Sections
& Animation,
Cinema, Panorama
British
Evening Standard "Film on the Square" &
Experimental Film. Screenings held at Nat'l Film Theatre
&
other venues.
&
1,000 filmmakers, buyers
Nearly
media attend. Extensive media coverage & audiences

over 100,000. Entries must be
UK
premieres, produced
& doc works
info (incl.
of all lengths
synopsis
&
press
&
kit).
Germany.
Cats: short, animation, feature, doc, Any style or genre.
Deadline: July 15. Fest founded
in
1969
is
noncompetFormats:
itive
survey of new
int'l
prods,
incl.
35mm, 16mm, 8mm,
Fest
incl.
S-8,
3/4",
super
Nepal
special sections on countries
No
entry fee.
Contact:
number
shorts
& Hamburg
prods.
American
London
Fest has highest
SE1
of N.
Sarah
LIFE
&
Lutton, Nat'l Film Theatre, South Bank, Waterloo,
regions,
indie productions in
8XT, UK;
Oil 44 207 815 1322;
fax:
44 207 633
Germany.
0786; [email protected]; www.lff.org.uk
Cats: features, docs,
UP!
Coming Talent Award (10,000 DM, approx. $4,510).

Entries
& must

not have been
35mm, 16mm.
shown
in
after June 30,
FFH, Josef Wutz,
Fest
Dir.,
Friedensallee 44,
Hamburg, Germany; Oil 49 399 19 00
399 19 00
10;
2000
Germany. Formats:
from anyone who'd
new ideas
incl.
of
Oct.
THE INDEPENDENT
June 2001
9-
1973
"invent, build,
like to
SR
and destroy
35mm, 16mm, 8mm,
Aprile Award. Formats:
Associazione
10. Fest originated in
17-23. Deadline: July
cinema." Cats: Any style or genre. Awards
1/2".
Preview
Culturale
20123 Milano,
Italia;
info@mi!anofilmfesti
Aug
Sept.
annual fest invites features (over 45 min.) films
49 40
0; fax:
FLANDERS INTERNATIONAL FILM FESTIVAL,
44
2. 6th
Beta
festhamburg.de
20, Belgium. Deadline:
MILANO FILM FESTIVAL,
22765
office@filmfestham burg.de; www.film
542 544;
fax:
977
541 196;
on
Aprile,
tel/fax:
val.it;
VHS.
via
Netherlands. Deadline: July
MFF,
Contact:
Carroccio
DV,
12,
I-
Oil 39 0289 421256;
www.milanofilmfestival.it
NETHERLANDS FILM FESTIVAL,

1.
Sept.
19-28,
21st annual fest
Sept.
Canada; Deadlines: July 6 (Canadian);
12,
Founded
'82, fest presents
in
300 films
from 50 countries at 8 cinemas over 16 days and has
become one
&
Montreal
of N.
America's larger
Toronto). Est.
int'l
tests (after
130,000 people attend,
incl.
about 350 invited guests representing filmmakers,

stars, buyers
&
sellers, critics
&
other industry pros
from around world. Special sections
incl.
Canadian
Images; Nonfiction Features, 30-film program devoted

to current
doc filmmaking; Walk on the Wild Side (mid-
night film series); Archival Series; Screenwriter's Art;
annual film & TV Trade Forum. Fest accepts Canadian

shorts
&
Canada
features but only feature films from outside
that have not been screened commercially or
broadcast
in
genre.
Awards
Award
for
Best
British
incl.
Columbia. Cats: Any style or
Award
for
Most Popular
Most Popular Canadian
Emerging
Western
Film;
Canadian
Film;
Awards
Feature
for
Film
Director and Best Emerging Western Canadian Short or
Mid-Length Film Director; Award for Best Canadian
animation, digital productions.
Audience Award (30,000 DM, approx $13,535);
Oil 977
July 13 (Int'l).
8.
special section on
Preview on VHS.
first films.
U-matic, Beta SR Preview on
[email protected]. np
27-Oct.
Europe's largest forums of U.S. indie prods. Overall, 180
w/in preceding 2 yrs. Fiction
24-30,
Sept.
16mm, 35mm,
Formats:
tour
VHS. Contact: SADFF, Film South Asia, PO Box 166,
FESTIVAL, Nov. 7-22,
run continuously since 1957,
3. Fest,
non-competitive
genres accepted. Send
HAMBURG,
FILMFEST
may
VANCOUVER INTERNATIONAL FILM FESTIVAL;

LONDON INTERNATIONAL FILM
UK. Deadline: Aug.
works &
cats for docs
after Aug. 1, '99. Full-
22; interfilmberlin@ snafu.de; www.interfilmberlin.de
www.jornadabahia.cjb.net
Deadline: June 30.
made
the world. Awards: Cash awards given.
Berlin,
49 30 25 29 13
71 235-4392; fax: 55 71 247-1823; [email protected];
BIENNIAL OF MOVING IMAGES,
&
South Asia
VHS (PAL/SECAM/NTSC). No
IB,
given.
prizes
Lalipur,
CETEAD
& non-competitive
no
is
Oct.,
Kathmandu,
in
as to the year of production. Cats: doc, short, ani-
mation,
Preview on
Best Editing;
35mm, 16mm,
length:
is
Deadline:
offers both competitive
&
Beta SP
Best Photography;
Sound. Formats:
July 15. Fest
6-11, Germany.
Nov.
length docs given preference. Selected films
about Latin America; plus Best Feature Doc; Best

Best Script;
SOUTH ASIAN DOCUMENTARY FILM FESTIVAL,

INTERFILM BERLIN,
is
The
a nat'l
Screenplay (computer hardware & software

Nat'l
Film
Board
Feature; Diversity
of
in
Canada Award
Spirit
for
Award; Chief Dan George
Humanitarian Award. Formats:
70mm, 35mm, 16mm.
Preview on VHS. Entry fees: $50 ($30
Canadian
prize);
Best Doc
only). Contact: VIFF,
1008 Homer
U.S..
St,
non-
#410.
Vancouver, Canada V6B 2X1; (604) 685-0260; fax:
688-8221; [email protected]; www.viff.org
MEMBERS ARE
FREE
CHARGE
OF
SPACE
AS
LISTED
THE
PERMITS.
June
Deadline:
Contact:
30.
Matawan, NJ 07747; (732) 583-2138,
566-7336;
TheWorkshops.com; www.TheWorshops.com
St.,
[email protected]; www.nationalscreenwriting.com
HOW LONG
INFO WILL BE CURRENT.
DEADLINE: 1ST OF THE MONTH,
TWO MONTHS PRIOR TO
INDICATE

entries
Prizes
COVER DATE
AUG
(E.G.,
ACCOMPANY ALL NOTICES. SEND TO: INDEPENDENT

NOTICES, FIVE 304 HUDSON ST., 6TH FL, NY, NY 10013.
lit-
erary agent, subscription to SCR(i)PT magazine. Entry
$60 (postmarked by June
fee:
West 7th
BE AS CURRENT AS POSSIBLE, BUT DOUBLE-
LA
Nov., submission to
in
Ohio
reading at the
OH 44113;
Cleveland,
St.,
2273
Contact: OIFF,
1).
236-2558; info@
fax:
NEW MEDIA WORKSHOP: "Crossover New
Call for
genres accepted.
All
screenplay
$1,000,
CONTACT INFO (NAME, ADDRESS & PHONE) MUST
WE TRY TO
Screenplay Awards.
for
incl.
FOR OCT ISSUE). COMPLETE
fax:
04856; (207) 236-8581;
Rockport,
St.,
ME
INDEPENDENT RESERVES THE RIGHT TO EDIT FOR
WORDS &
200, 2 Central
145 Broad
LENGTH AND MAKES NO GUARANTEES ABOUT REPETITIONS OF A GIVEN NOTICE. LIMIT SUBMISSIONS TO 60
& TV Workshops, Box
Film
Director, National Screenwriting Competition,
(216) 781-1755;
[email protected]; www.ohiofilms.com
Filmmakers"
tunity for Innovative
Oppor-
an intensive work-
is
shop/ retreat bringing together independent filmmakers
& new media
professionals to reimage
media on the
Internet.
storytelling
workshop
& "new media"
& reshape
combine
digital
media"
"old
5-day
interactivity, the first
be covered. Preliminary appls. due
will
More
mid-July.
to
scheduled for Feb. 2002. Travel & accom-
is
modations
Designed
in
www.weblab.org/crossover
info:
ONE
Competitions
TEN SCREENPLAY COMPETITION: Cherub
IN
Productions presents their 3rd annual competition pro-
moting the positive portrayal
ACCOLADES TV SCRIPT CONTEST: A
screenplay compe-
Competition
&
designed to provide outlet for emerging talent
tition
in
com,
1 hr. pilot,
&
judges include agents, managers
Finalist
pilot,
1/2
gays & lesbians
of
in film.
and winners receive
to all writers
cash awards & industry contacts. Deadline: Sept.
Cherub
Contact:
industry.
open
is
One
Prod.,
1.
Screenplay
Ten
In
CO 80306; (303) 629-
Competition, Box 540, Boulder,
sit
hr.
POETRY VIDEO
explored
be
will
Culture/American Culture Congress
&
Oct. 18-20. Scholars
new ways
present
artist will
Popular
the
at
Puebla Mexico,
in
have the opportunity
to
about poetry video. To pre-
of thinking
sent a paper on poetry video at the Congress, submit
150-200 word abstract

video
poetry
via email or to
submit
original
mcham
Chamberlain,
Maria
contact:
[email protected]; www.udlap.mx/congress
drama, & long torm. Cat. winners
hr.
receive $300. Grand Prize: $2,500. Entry fee: $35-$50,
RHODE ISLAND INTERNATIONAL FILM FESTIVAL
SELLING TO HOLLYWOOD:
depending on format. Deadline: Aug. 30. Appl. avail on
SCREENPLAY COMPETITION 2001:
Hollywood Screenwriters Conference. Aug. 2-5 at the
2118
web
site.
Ste.
Contact: Accolades TV,
Wilshire Blvd.,
must
staged
GORDON PARKS INDEPENDENT FILM AWARDS:
The
Independent Feature
5th
Project
presents
(IFP)
not have been sold or optioned prior to entry. Entry
Grand Award: $2,000
fee: $30.
&
nize creativity, innovation
Created to recog-
reading of work.
cash & prizes plus
in
June
Deadline:
Contact:
1.
Sheraton Universal Hotel
Kettering,
in
Screenwriters
Hollywood
OH 45429;
annual
14th
Selling
to
L.A. Contact:
ASA
Conference,
Box 292010,
fax: (513)
Selling to
731-9212. info
sell-
ingtohollywood.com;www.asascreenwriters.com
Eleyne Austen Sharp, RIFF, Box 162, Newport, Rl 02840;
the
(401) 861-4445;
fax-.
847-7590; flicksart@ aol.com;
Tapes Wanted
Films
annual awards for outstanding achievement by emerging

www.film-festival.org
black independent filmmakers.
length screenplays, fiction
&
films
Eligible
be selected to receive $10,000.
director, will
Finalists will also be invited to participate in IFP
(Sept 30-Oct
5).
Contact:
(212)
fax:
Entry
465-8525;
Market
June
Deadline:
$40.
fee:
CARTE BLANCHE: A
feature-
cats:
doc. feature films, short
feature works-in progress. 2 winners, a screen-
&
writer
&
1.
[email protected];
SLAMDANCE
TION supports
12
Prizes incl. cash, software, plus sub-
recognized.
mission to a major
fee:
literary
$40-$50. Deadline: July 23. Contact: Larry Hansen,
&
GLAdams
Hollywood,
&
scene shot w/ pro-

Enterprises,
1626 North Wilcox
1.
Ave.,
CA 90028; www.finalcutcontest.com
www.slamdance.com
rent synopsis writing
&
on
direction as to
14th year,
is
is
sponsored by The Christophers. The theme
"One Person Can Make a Difference." Deadline: June
15.
Cash
prizes
Winning entries
ic
sit
&
up
$6,000
totaling
be
will
awarded.
be
nationwide
aired
be
artist
in
1.
starting
Contact: Perte de Signal,
H2W
2T3, Canada.
CINEMA
videos
&
LA, ongoing call for submissions of short films,

docs,
in all
genres for broadcast on LATV. Latino
Christopher Close-up television series. Contact: 12 East
encouraged but not required. 5-60 min. Non-paid sub-
New
St.,
will
York,
via
NY 10017; (212) 759-4050;
fax:
missions. Tapes
will
Cinema
not be returned. Contact:
whether your [email protected];
LA, c/o LATV, Complex Studios,
2323 Corinth
Ave.. Los
Angeles,
&
Conferences
DUTV,
Workshops
cleverness. Each contes-
FOCUS
ON
VIDEO,
Canada's
National
Video
&
All
genres
of
Toronto Convention Centre
Toronto, Ontario on June 27
cast
in
Final Draft, plus free Script Detail of screenplay of your
&
choice. Deadline: last day of every month. Only online
Abromaitis, (416) 531-2121; fax: 531-2194;
[email protected]. au;
www.the
source.com.au
28. The
show
is
open
to trade only. Contact:
Angela
promex@
sympatico.ca; www.focusonvideo.com
offer
total
evaluated based upon concept, structure, character, cine-
superior writing. Winning entries consid-
ered for possible production or development. Entry fee:
2nd,
$500;
3rd,
$250.
latest
equipment
Maine, workshops, courses, photo

offered
in
campus
&
in
in
of lead-
Rockport.
film expeditions are
Vineyard, Greece, Norway
&
nonprofit
access channel
in
&
SP, DV,
lengths considered. Will
S-VHS & 3/4" accepted
& webcast. VHS
for
PA
Philadelphia,
19104;
St.,
(215)
Debbie
Contact:
preview.
Rudman, DUTV, 3141 Chestnut
return tapes.
for possible cable-
Rm 4026.
895-2927; dutv@
Bldg 9B,
drexel.edu; www.dutv.org
progressive,
Philadelphia, seeks works by independent producers.
each synopsis entered. Winner receives free copy
$2,500;
CA 90064; [email protected]; www.LATV.com
take notice. June enter 1-
Beta
1st,
will
Send preview on VHS, along w/ videography &
being held at the Metro
Awards:
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2001.
is
$45.
poet-
in late fall
presented
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personalized
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of
matic quality
filmmakers & films about the Latino experience are
To give
screenplay you've already written, or a
accepted;
in
Student works are welcome. Artist fees are
vision.
entries
& exposes them
the
838-5073;
originality, marketability
receives
show current preoccupa-
brings together works that
tions/experimentation
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world. Event
its
screenplay you intend to write. Judges evaluate synopses
tant
Canada & around the
arts from
Box 42025, succ. Jeanne-Mance Montreal. Quebec

in
www.christophers.org/vidcon2k.html
of
media
would make an agent, producer, or
development company
page synopsis
in
statement. Deadline: June
VIDEO CONTEST FOR COLLEGE STUDENTS, now
48th
466-
[email protected];
466-1784;
fax:
Director; (323)
touring program that looks to pro-
mote & disseminate work from emerging women
around the world.
Character-driven, feature-length, standard format scripts
fessional actors
2001:
1786;
#382,
COMPETITION
Slamdance Screenplay Competition
www.ifp.org
Contact:
SCREENPLAY
FILM
STUDENTS CALL FOR
Awards Student Film

through July
1.
Cash
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prizes
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Angelus
gifts.
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will
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in
FILMS/VIDEOS WANTED
for
weekly
art
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June 2001
in
enti-
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45
(^-jzj'jf-i-zt-BiTi)
tied:
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submit your work.
Artists please
15 min. maximum. Contact: Box 050050, Brooklyn, NY
movie convention. Seeking
fic/horror
&
fantasy
sci-fi,
Deadline:
July
Annotations: A Guide to the Independent Press can open
www.fantastic-films.com
INDUSTRIAL
its
now
TV: Cutting-edge cable access show,
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works
for inclusion in fall season. Controversial,
sored
&
exposure
NYC
in
area.
Edmund
Contact:
uncen-
Guaranteed
encouraged.
material
subversive
Varuolo,
c/o
NY
2droogies productions, Box 020206, Staten Island,
10302; [email protected]; www.2droogies.com
&
SHORT
PBS
check
showcase
LIST,
for
stations. Licenses
Produced
int'l
is
media submissions
Awards
4.
web
on
avail,

tive
possible inclusion
Contact: fax: (619) 462-8266;
site.
media organizations
&
spaced pages
list.cc
Resources
race, class
&
offline
online sales. Looking for
may
selected
tional screenings.
Submit VHS
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port
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phone
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for addi-
preferred)
and any supnot be
will
2318 Second
returned. Contact: Microcinema, Inc.,
#313-A,
Submissions
photos.
incl.
venues
int'l
Ave.,
568-6051;
(206)
artists
VHS
welcome. Formats:
&
sis of the film
bio
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opening
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New
offering a creative
film-
~
artists.
otherwise
Monk
WIGGED.NET,
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these
to
range of films from dramas and documen-
airs a broad
and animation. Studio interviews with
&
[email protected]
experimental
casts short films from around the world and covers film festivals through-
media
out Southern California. Developed by filmmakers for filmmakers, the
new
importance of having a place to show an
& videos made
Latino filmmakers
web.
and films about the Latino experience are encouraged,
but not required. See

For
details
'submit
media'
ongoing.
visit
page on web
site.
Contact: Seth Thompson, (330) 375-
a quarterly open forum, also exhibits emerging, non-
0927; [email protected]; www.wigged.net
NY 11211;
Brooklyn,
[email protected]; www.ocularis.net
local
New
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short films
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WOLFTOOB
is
watched by
is
17 min.
min. to
millions, or at least thou-
sands. Contact: [email protected]
Incl.
Send VHS tapes
Comm. Dept,
to: Eric
Florida Atlantic Univ.,
777
Glades Rd., Boca Raton, FL 33431; (561) 297-2534;
[email protected]
& aims
Publications
Freedman,
Lawter,
CT
37
06902;
to
ACTRA
FELIX, a journal of media arts
new
& communication. Get the
issue "Voyeurism," edited by Kathy High
& Maria
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Tomczak, explores complex nature
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&
innovative
represents over 16,000 film, TV
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pro-
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info
Jim
to:
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academic
All
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#1-6,
looking for
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www.8xl0glossy.com
WOLFTOOB,
seek public
drag, transgender subjects, for inclusion in
Send
board.
bulletin
Greenwich
commercial work. Contact: Ocularis, Galapagos Art &

St.,
listing.
for
other special projects. Open Zone 4,
Performance Space, 70 N. 6th
understood.
Deadline:
Sunday night screenings; works longer than 15 min. conwork considered
is
for
for
the
All
work
Entries for broadcast consideration are accepted on a continuing basis.

tion
Works under 15 min. considered
artist's
anima-
works,
sidered for curated group shows.
directors, pro-
ducers, actors, and production staff are conducted. The program broadis
Asst. Professor,
avenue that has

closed
bi-
web-zine,
distribution.
been
tech works are encouraged,
innovative
&
Los
in
showcases independent filmmakers,
594-
fax:
a one-hour television
is
CA. This unique program
Angeles,
York,
monthly
history
use of
letter), free
program airing weekly on KJLA
seeking
gram genres welcome.
Cinema LA
Gallery,
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list-
directo-
in
Political,
in July.
(catalogue fee). Contact:
online exhibitions
organizations
Sherae Rimpsey, 545
301 Bedford Ave., Brooklyn, NY 11211; (718) 782-2458;
exhibit their work.
&
Third
taries, to short films
OCULARIS
&
Online artists' co-op offers free
actors, technicians
World Newsreel, Attn:
9277;
but not exclusively so. Possible one person show. Send
VHS & $5 check
ry
all
Funds
www.twn.org
documentary, exotic
PA 19122; (215)
direc-
to:
Eighth Ave.,
& Media
Hall, Philadelphia,
synop-
makers
ing for
tapes. Send
submissions,
tor's
Temple
8xlOGLOSSY.COM:
NY 10018; (212) 947-
[email protected]; www.microcinema.com
NY GALLERY VIDEO LOUNGE seeks video
1/2"
feature length docs, narrative,
&
of political
to:
films for
Send approx. 5 double-
seeking film & video
experimental & other works attentive to intersections of
short narrative, dramatic, erotic, animation, etc. Works
press.org
of the oldest alterna-
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Francisco,
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in
14E Annenberg
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fy for a non-exclusive distribution deal, incl. additional
of short
#201, San
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form
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w/ Kodak Worldwide Inde-
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in
pendent Filmmakers Program & Cox Channel
submissions
int'l
send
2390 Mission
CA 94110; (415) 634-4401; wwwindy
of 15 min. or less on an ongoing basis for the monthly
license fees for
&
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IPA,
to:
short films, airs nat'ly on
genres, 30 sec. to 19 min.
all
[email protected]; www.theshort

digital
up a world
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of
S&H)
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[email protected];
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dent magazine world can give you the
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of topics of
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BAVC JOB RESOURCE CENTER:
Funded
by
San
voyeurism
Francisco Mayor's Office of
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Cover price only
risks of watching.
the Bay Area Video Coalition Job Resource Center pro-
$15. Felix
All
seeks film & script submissions
genres
VHS) &
& formats welcome.
script
submissions must
quarterly.
Contact:
Multimedia, 655 Fulton
St.,
Order by phone: (212) 219-0951. For more info
& back
of
vides
synopsis, bio
Sheryl
139,
&
scripts
Ellison,
Brooklyn,
IGH
NY
11217; (718) 670-3616; [email protected];
www.ighmultimedia.com
access
Aug.
24-26,
England. Festival of Fantastic Films presents annual sci-
Jl
w/
free
access to
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2001
avail, for online job
publications, career
FERENCE
listings.
transcripts of 8th conference avail.
IFFCON
is
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CA 94107;
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to:
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incl.
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IFFCON, 360 Ritch
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St.,
2nd
info
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resources
industries.
Internet
Open
fl.,
searches, as well as industry
development books & job/internship
Mon.-Fri. 9-5 p.m. BAVC,
2727 Mariposa
San Francisco, CA 94110; (415) 861-3282;
[email protected]; www.bavc.org
in
San
CA CCH MEDIA PROGRAM PLANNING GRANTS

up
to
provide
support development of major grant pro-
$750
to
&
pay

posal
THE INDEPENDENT
residents
IFFCON 2001-INTERNATIONAL FILM FINANCING CON-
Francisco,
SCI-FI/HORROR MOVIE CONVENTION:
46
S.F.
pertaining to video
2nd season.
(submitted on
Film
incl.
Ste.
Inc.
issues: www.standby.org
for
$10 (check/m.o.). Films screened monthly &

staged
published by The Standby Program,
Brooklyn's original
microcinema featuring independent filmmakers

color,
is
Find an indepen-
dent audience! The IPA's new directory
to the
indepen-
to
for
background research, consultations

ilar
activities
reps, travel
necessary to develop proposal.
&
sim-
Before
w/ CA Council
applying, consult
Deadline: Aug.
Humanities
for
312 Sutter
Contact: CCH,
1.
staff.
601,
St., Ste.
San Francisco, CA 94108; www.calhum.org
COMPOSER CONTACT ONLINE CATALOGUE:

base
Harvest-
Digital
to learn
works
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missioned to write
accessed.
biographical
can
info
85 years
with
is
distributor,
and other
worldwide.
institutions
be
cc@harvestworks; www.harvest
Contact:
MP3 samples &
projects.
Ifyour new work
is
call.
works.org
DVD-based
a video
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510-643-2788
developers. The series provides high-end training tools

that improve productivity
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con-
606-5012; info@magnetmediafilms.
tact: Rafael; (877)
[email protected]
creativity for the end-user.
com; www.digitalmediatraining.com
DOCUCLUB
filmmakers
facilitates
in
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documentaries by providing a supportive community

screen
&
DocuClub
offer feedback.
rough cuts for
its
is
now accepting
monthly screenings. Send $40
bership fee (payable
16th
fl.,
"From
Rawstock's
services were everything needed."
mem-
to:
to
doc.
to:
New
NY
York,
10022; (212) 753-1326; www.docuclub.org
you credit the songs
if
your film credits. Professionally produced
Brett
Thompson. Screenwriter/ Director.
D.
WOOD JR.
in
& mastered CD
:,i
F,n
L;
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with 22 punk, rock, alternative, dance, love songs. Call
John at Road Rash Music (ASCAP publisher), (703) 481-
The #1 choice
9113.
to help
independent filmmakers realize their dreams:
LATINO PUBLIC BROADCASTING (LPB) supports the
&
development, production, acquisition
noncommercial educational &
gramming
that
addresses
representative
is
issues
Americans.
cultural
particular
of
Funded
by
distribution
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Corporation
the
people or
Latino
of
of
pro-
television
to
Latino
for
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mission
to
provide
voice
to
the
diverse
Filmstock
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Camera Rentals
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Final
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Final
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Latino
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(1)11.
RAW STOCK]
"
between $5,000 & $100,000

res.
LPB
is
for
programs
of
most gen-
~HT
Call us
looking for proposals that give thoughtful con-
wider appeal. Deadline: June
Angeles,
4. Contact: Latino Public
6777 Hollywood
Broadcasting,
Blvd.
Ste
500,
@ 800.323.4647
www.DRRAWSTOCK.com
sideration to the program's target audience as well as
The place
for your movie.
6150 Santa Monica
Blvd. Hollywood
CA 90038
Los
CA 90028.
MEDIA ALLIANCE INDEPENDENT RADIO/SOUND ART
FELLOWSHIP
provides project support for the creation
of innovative radio or
sound
art works. Grant
$5,000. Applicants must work/live

of
New
York
City. All
in
award
of
the five boroughs
genres of sound or radio pieces &
audio-only installations
will
be considered.
must be considered emerging
artists.
Program
is
made
possible by the Jerome Foundation. Deadline: July 25.
Contact: Rachel Melman, Media Alliance, c/o WNET,
W. 33rd
St, NY,
alliance.org;
450
NY 10001; (212) 560-2919; www.media
IN
NEW YORK
organizations
in
NY
October 26 - 29, 2001
STATE: The Experimental TV
&
TELLURIDE INTERNATIONAL
EXPERIMENTAL CINEMA EXPOSITION
[email protected]
MEDIA GRANTS AVAILABLE TO INDIVIDUALS & ORGANIZATIONS
TIE
Applicants
&
film artists
www.experimentalcinema.com
State. Presentation funds provided
June
AVI THE
INDEPENDENT
47
NY
to nonprofit organizations in
Final
Cut Pro
ing.
Nonlinear Editing
media
to help nonprofit
$2,000 per
to
State. Deadline: ongo-
Media Arts Technical Assistance Fund
programs
arts
project. Organizations
in
designed
is
NY
Up
State.
must be receiving
support from NY State Council of the Arts Electronic
Media & Film Program. Deadlines:
July
&
Oct.
(310) 392-1720; fax: 399-3455;
launch@nextwave-
films.com; www.nextwavefilms.com.

equipment program
16mm camera
system
filmmaking grant
access
offers
to
professional
for first serious
new produc-
1.
tions
dramatic,
in
experimental,
doc,
narrative
or
Contact: Sherry Miller Hocking, Experimental TV Center,
form. Purely commercial projects are not considered.
Beta SP, DV, DVCAM,
109 Lower
Hi&, 3/4",
Rd Newark
Fairfield
687-4341;
(607)
NY 13811;
Valley,
Provides camera on year-round basis. No appl. dead-
[email protected];
line,
S-VHS
Contact:
NATIONAL ENDOWMENT FOR THE HUMANTIES:
Plummer
Summer seminars &
fax:
w/
collaboration
;TH
&
Seminars
teachers.
university
incl.
&
periods
Info
&
or 2 leading scholars. Institutes pro-
ideas for teachers of undergrad humanities.
Film
Grant,
St.,
Seattle,
467-9165;
WA
S.
98134; (206) 467-8666;
[email protected];
www.oppenheimercamera.com
ISLANDERS
PACIFIC
COMMUNICATIONS
IN
grams intended
call for
(PIC)
proposals for pro-
for national public television.
Doc, per-
appl. materials are avail, from project directors.
formance, narrative, animation, children's or cultural

Contact:
606-8463;
(202)
[email protected];
affairs
PIC
eligible.
is
particu-
www.neh.gov
larly
NEW DAY
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New Day
Contact:
for distri-
Films,
22D
Hollywood Ave., Ho-Ho-Kus, NJ 07423; (415) 383-8999;
NEW YORK
realities
Pacific
of
identity
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Awards
of
in
Islander issues such as diversity,
Must be PBS standard lengths.
spirituality.
up
to
examine & illuminate
projects that
progress
including
Research
& development &
&
production
for works-in-
postproduction.
phases June
scripting
receive up to $15,000. Deadline: Aug. 3. Contact: Annie
Monyasu, Media Fund,
www.newday.com
www.earthvideo.net
interested
6A-4, Honolulu, HI
1221 Kapi'olani Blvd,
PIC,
96814; (808) 591-0059;
Ste.
591-
fax:
STATE COUNCIL OF THE ARTS (NYSCA)

1114; [email protected]; www.piccom.org
212-223-4-254-
announces the
availability of
Media & Film Program

works by
New
awarded
for
work &
funds through
costs of recent
for distribution
York State artists.
audio/radio,
Grants up to $5,000
computer-based
video,
film,
Electronic
its
installation art. Deadline: Aug. 15. Contact:
Program;
EMF
cmeyer@
(212) 387-7058; fax: 387-7168;
POST PRODUCTION
DUPLICATION
in
ers, incl. screenwriters, facing financial crisis.
emergency funds are not intended
edi-
development. Contact: PEN
professional
or
PEN's
to subsidize writing
American Center. 568 Broadway, New
NEWENGLANDFILM.COM
&
for writers
form of small grants
given each year to over 200 professional literary writ-
projects
nysca.org
PRODUCTION

tors
NY 10012;
York,
is
(212) 334-1660.
&
able industry directory, listings of local events, screenings, jobs, calls for entries
addition
145
WEST 20TH STREET
TEL: 212-242-0444
NY
N.Y.,
10011
FAX: 212-242-4419
to
visitors
productions,
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filmmaker interviews

listings
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news.
industry
each month.
in
All articles
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an open
new

&
one disc
in
search
of partnerships,
Avid-authorized
financing
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training
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30min. -$1200
60min.-$1750
90 min.
$2000
is
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to
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w/
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Contact: Deborah Cravey, Digital Media
rolling basis.
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distribution
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Portland,
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Video Duplication
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career
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projects. Online
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Beginning this year, films
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program. 5-year-old program affords a boost to indie
offering
provides a
submissions
Digital
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of Portland,
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other partners.
camp.com; www.filmcamp.com
NEXT WAVE FILMS, funded
by the Independent Film
Channel, was established to provide finishing funds
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annual grant awarded
other vital support to emerging filmmakers

get,
SW
OR 97221; (503) 297-2324; deb@film
w/ low-bud-
English-language features from U.S.
Selected films receive assistance
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who
to
is
an
emerging film & video
artists
Sept. the Fund will
award
are residents of Texas.
In
abroad.
$50,000
in
Deadline:
July
grants
ranging
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$1.000-$5.000.
w/ postproduction,
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avail,
at
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Filmmakers'
implementing a festival strategy & securing distribu-
20 VHS Tapes
w/sleeves & labels
Independents
Only
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THE INDEPENDENT
lune 2001
tion.
Through Agenda 2000
Next
Wave Films
of
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the production
release. Both fiction
2510
of
(512) 322-0145; www.austinfilm.org
work can receive production financing &
Films,
Austin, TX 78723;
filmmakers w/ an established body
features shot on digital video
finishing funds
arm
St.,
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&
assist, for
intended for theatrical
non-fiction films considered for
& Agenda 2000.
7th St., Ste.
E,
Contact.-
Next
Wave
Santa Monica, CA 90405.
offer
seminars
Exemption"
&
Contact: (212)
more.
Reservations
319-2910
x.
9.
&
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must be made.
S)
MONTHS PRIOR TO
COVER DATE
AUG. 1 FOR OCT. ISSUE). CONTACT:
(E.G.
PER ISSUE COST:
Communications, 2 East View Drive
NH 03038;
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lite
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FX

ers, producers,

ing film
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fl,
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st.,
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is
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&
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more.

including talent
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&
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|une
AVI
THE INDEPENDENT
49
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sitivity to
for reel
umentaries and shorts. Contact Melissa (212) 352-
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lighting
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vision.
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available to help with
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is
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in
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hihosliver@ earthlink.com
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for rates
and references.
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]une 2001
&
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Juno 2001
THE INDEPENDENT
51
SPOTLIGHT ON
screening rooms, pizza shops, post houses,
AIVF SALONS
art organizations. Let local foundations,
Elizabeth Peters
by
The twenty-odd
know who you
funders, art councils
and what the group
are
doing.
is
PUT out notification in local newsletters,
regional salons timbrel-
newspapers, or through email broadcasts.

la'd
AIVF
by
provide a sort of beacon of
With
entrepreneurial independence.
ranging from monthly support
erings
each salon has evolved in
response to the needs of
particular
its
environment. Aggregated, they represent
What
al
will
on
others
who
and dedication
for
share your enthusiasm
you find
make
learn something, to
that
an AIVF region-
at
may
a connection
help your work, to remind your-
in creating a support base
independent mediamakers and discuss
SEEK
grow and
not alone. Salons help
media
stabilize their local
arts
OUT
institutions
local
media organizations or
you may want to partner with.
There are many resources in your community you don't want
DEVISE
to
self that you're
meetings.
to overlook.
from
ideas
Solicit
AIVF's program director and other salon
Over the long
leaders.
an opporeties,
tunity to
hone
management
their project
and event planning
skills,
while serving
museums,
and panels
additional
ideas.
an invaluable
makers
The
role to
in the local
independent media
community.
different
models of AIVF regional salons;
many more models can be seen

salon section of our
org.
web
What would work
community?
If
site,
in the
www.aivf.
best in your
own
you are an informed, orga-
establish
and passionate independent
resources
to
community,
help:
AIVF
contact
sessions
has
the
members
aivf.org for a salon information kit.
THE INDEPENDENT
and
This can be one of your biggest
Do
your homework. Visit cof-
feehouses, bookstores, media arts organizations,
community
bars,
June 2001
to.
and
first
room
the
in
about their
talk
interest in media. This will give
an idea of who they are
next
sitting
Pass around a sign-in sheet to collect
contact information, including email.

This
is
good time
to delegate responsi-
Always
time for networking.
try to leave
THINK broadly. Find out what people are

what resources they have
what skills they possess. Your
salon members are your greatest resource.
access to,
DELEGATE.
ning a salon
collective
Delegate.
is
tough
effort
Run-
Delegate.
job. It will require a
run
to
efficiently
and
with continuity. At one time or another
centers,
every
member
bilities
will
that will
have outside responsi-
draw them away. In order
to maintain continuity, rotate the meetings' chairs.
DEVELOP
a focused mission.
What
ser-
and industry vendors.

Make sure the space can accommodate
vice can the salon provide to your inde-
big enough,
road, plan a yearly calendar that supports
libraries,
lofts,
the needs of the group:
do they have enough
Is it
chairs,
can you carry
a conversation?
a catchy
flyers
with interesting graphics to get people's

attention.
AIVF
mailing to local
er
mediamakers
pendent media community?
will
help with the
initial
AIVF members. Get

will find
flyers
wherev-
them: Kinko's,
Down
the
this mission.
REMEMBER:
name. Make up
group together to distribute
52
among
inter-
ested in taking a leadership role in your

arts
programming
a centrally located space
challenges.
CREATE
media
other
or
screenings
are useful.
set a time.
on
nized,
for
Brainstorming
members
LOCATE
following pages detail four very
universities,
may conduct
needs during the
identify themselves
folks
one has
drag on, they won't come.
Have everyone
work or
No
people perceive the
interested in,
term,
institutions that
if
Ask someone to take notes and

prepare them for the next meeting.
specific topics for the first three
four
each meeting.
for
bilities.
relationships with local festivals, film socicultures; salon leaders exercise
will
meeting.
a national scale.
Certainly the opportunity to
salon?
meetings
ASSESS members'
FIND
the possibilities and goals of a local salon.

a powerful force
time and
lot of free
aTrice Dixon
by L
an agenda
Don't run over two hours.
AIVF REGIONAL SALON
groups to sophisticated seminars and productions,
PREPARE
HOW TO START AN
off-
running a salon
is
an
opportunity to build long-term relationships
with individuals, businesses,
organizations in your
and
will
community
and
that can
support you.
La Trice Dixon
is
the
former membership
director of AIVF.
Portland, Oregon
other's work.
We
all
recognized that
Maybe the best description of the

Portland AIVF Salon (known locally as
the Indie Film Group)
is
that
paragon of informality. After
it
is
the
all,
group was founded in a pretty impromptu

fashion, with the very loose mission of
News
"togetherness."
of the group largely
has been spread by word-of-mouth.
tone of the meetings

reputation
of
is
the
The
as casual as the
laid-back
Pacific
Northwest. But in spite of (or maybe
much
rains as
Our
as
it
Film Center (the
But eventually
our pres-
to
busy class
their
schedule, combined with our increasing
back
classes & tutorials
Northwest
being quite
staff there
and amenable
desire to kick
umall
we held monthly meet-
ings in a free classroom at the
ence).
was
does here.
it
first year,
supportive
it
where
easy to get isolated in a place
in
AUDID. VIDED & INTERACTIVITY
as a group, led to the
decision to hold meetings in members'
homes and on
brewpub
occasion, a
(of
which there are many and of legendary
Program
We
high quality).
also decided not to
CULTIVATING
hold meetings on
same
the
each month so we
[212] 431-1130
could get a greater

cross-section
of
As
participants.
596 Broadway
a
harvest*
attendees
602 mSoHo
Suite
mix of
the
result,
TALENT
night
is
.<SÎ>
little
each time
different
out of some
and,
100 people on the

Indie Film
mail
Too
much hummus,
not enough dessert? The Portland salon discusses this
Group
Digital
e-
Media Arts Center
typically
list,
and more
20
professional matters at their informal potluck dinners.
30
to
folks
attend on any given
because
of) this
relaxed atmosphere,
With
Portland has a growing independent

film
community with
a strong contingent
animators, among them

Chel White, Rose Bond, Joan Graz,
Joanna Priestly, Jim Blashfield, and Will
of world-class
Vinton.
It
night.
it all
seems to work.
also has a
number
of busy doc-
AIVF
bad part about the
Frankly, the only
hummus
multiple
who
those in the
know
simply refer
But while Portland's film community
is
perhaps not as large as those in
some other
cities.
And many
of the
com-
munity's needs seem to be covered just

fine
by some other local institutions, most
notably the Northwest Film Center with

classes,
its
screening
Our
the
workshops,
festivals,
and
salon was not about to reinvent
wheel.
thing as a group
completed work
and
pats
way
So when filmmakers
to

K- 12 health, drug education,

commiserating.
There are no officers, no real hierarchy,

no long-range plan in the Portland Indie
Film Group. But it's a model that might
well
or a
on the back, suggestions about mar-
translate
Media
critique,
offer
Relations
has been a leading

usually screen some-
work-in-progress
Human
to
other locales.

And,
unlike here in Portland, you don't even
have
to
add water
to
make
it
fttkUfc
gel.
Beth Harrington
the group in 1997,

as
we
1-800-431-2050 ext 121
and relationships
and conversation.
series.
Williams, Enie Vaisburd, and
it
But the meet-
keting or distribution, or grousing and
to in reverent tones as "Gus."
lively, it is
we tend toward
ings go rather smoothly
Baker and Miranda July

and even some feature folks,
the most well-known of whom is Gus Van
Sant,
that
is
CALL US!
infor-
dishes.
mality of this group
After dinner,
Kelley
Boston
the
Simon, we instituted a potluck supper.
umentary and experimental filmmakers,

respectively,
to
Salon run by Susi Walsh and Fred
get built over food
like
nod
a grateful
Cam
established
we merely envisioned
network and see each
Beth Harrington
to the Pacific
is
mentary filmmaker, she has
on her new
Women
film,
ROHffl
a relatively recent transplant
Northwest from Boston.
just completed
Welcome
of Rockabilly,
to the Club:
produced
A docuwork
The
41
Kensico
Drive, Mt. Kisco.
in association
800-431-2050
with ITVS.
www.hrmvideo.com
June 2001
NY
10549
fax:914-244-0485
letters (5)
hrmvideo.com
THE INDEPENDENT
53
Atlanta, Georgia
Perhaps they'll help promote your salon
through their mailing
AS THE SALON LEADER
ATLANTA,
IN
enjoyed flipping to the back of the June

issues of
The Independent and finding out
the inner workings of other salons around

the country. Based on those reports,
included.
Avid Media
Composer
Off-line
the artist
at rates
was founded
in
Our
arts center.
they'll
salon
Red
sponsor, for example, the
Light Cafe, has been donating their space

for three years in
exchange
for a link
from
What-
(www.imagefv.org).
site
ever help partner organizations can give

will
make your job
a lot easier, believe me.
IMAGE
Third, because
salon,
has
it
become
subsidizes our
a free educational
1997 by
Genevieve McGillicuddy
under the umbrella of
IMAGE Film & Video
Center.
cannot
benefits
can afford.
Manhattan
Unlike most salons, we operate as part of
media
maybe
it
approach from many of our counterparts.

a regional
Our venue
our web
seems that we in Atlanta have a different
Everything
or
list,
donate a meeting space once a month.
of
stress
the
collabora-
this
tion enough.
suite.
by incorporating the
First,
Atlanta salon into the nor-
programming
mal
IMAGE,
have
kitchen
Y
Tel: (516)
810-7238
at
our salon did not
go through the pains
to
of building an identity that
new
other
IMAGE
Fax (516) 421-6923
salons
face.
& Video Center was founded
Film
1977 by a small band of independent
in
filmmakers and has since grown into one of

the most respected media centers in the
region.
As
the education coordinator for
IMAGE, Genevieve had
access to 20 years
of contact infonnation to the local

nity
and the
tion, the
press.
ple
Media Composer 8000
XL 1000
Composer
Film
/Titles
to gain
momentum.
/Graphics
Experienced Editors
as
an
ally get paid to
my
job as
me
gives
Sound Design
Editing
Audio Syncing w/
Mixing
Digital Pix
run the salon;
programming
Voice-Over/
ADR
Sound EFX
Foleys
DUBS & XFERS

632 B'WAY(& Houston) 10012
212.473.3040
54
THE INDEPENDENT
lune 2001
it's
actu-
part of
director. It also
IMAGE
produces, like our
monthly screenings, film and video work-
and Out on
many
Film.
services,
such
also
offers
as fiscal sponsorship
you are planning
already run one but
& Video Festival
IMAGE
and equipment access
ommend
Library
high as 85.
a great springboard to promote
other events
If
SOUND STUDIO
as
IMAGE employee
shops, the Atlanta Film
around 45 peo-
and has occasionally been
Second,
Since
inherited the salon three years
ago, our salon has averaged
AVID
3D
the time
commu-
this associa-
Atlanta salon started out strong
and continues
VIDEO/AUDIO POST
Because of
to
its
it
members.
to grow,
month. Our salon
rec-
that you approach local media
groups or arts-friendly businesses to see
consists of a
typically
15 to 30-minute presentation by a guest
media expert, perhaps an entertainment

attorney or panel of producers, followed
by a question and answer period. The luxury of not charging admission has
the salon one of
IMAGE's main
made
points of
contact with aspiring and trans-
initial
planted
artists.
Some
charge a
salons
small fee at the door, but
doubt we could
do that here and have the same number

of people
show
up. Let's face
brings out artists like the
it,
word
nothing
"free."
Partnering with an existing organization
may not work
in every town.
Maybe
the arts organizations in your area won't
be interested. Maybe there aren't any

organizations in your
town and
that's
arts
why
you're starting a salon. But in Atlanta, our
system seems to work. Could

ter? Absolutely.
to start a salon or
want
and networking event that the local indie

community looks forward to each
film
45 people
is
it
work
bet-
steady attendance of
okay, but out of a city of three
million
we could do
tinue
to
succeed
better.
Could we con-
without
IMAGE.
Absolutely not.
if
Mark Wynns
they might be willing to be a co- sponsor

or underwriter.
Some
organizations
may
be able to provide a small stipend, some

won't. However, even
if
they can't offer
cash, they can offer support in other ways.
Wynns
programming director for

IMAGE Film Video Center in Atlanta, where
he lives with his wife, Jaime (they met at an
Marie
is
&
AIVF
salon in 1999).
the outcome was well over 300 people at
South Florida
the salon's second event.
the summer of 1998, AIVF witnessed

the conception of the South Florida film
bring South
salon. The vision was clear
Florida's independent film community
In
together and provide an outlet for infor-
So what's on the agenda at a typical

AIVF/SF networking party? The evening
duced
short,
accompanied by
form of
change process;
its
business,
parties
The
Perhaps the
Florida.
greatest advantage of
South Florida's twice-a-year parties are perfect
nightclub networking
networking events for filmmakers, include cofounder
Dominic Giannetti (center) who met two
the less for-
is
ambiance, which helps
more
open
communication
The
7 p.m.,
facilitate
between
at
10 p.m.
(at
which
point the event turns into a party for

those wishing to stay; to point out the
obvious, most stay).
Open
and non-members, these
to
members
parties bring a
wide array of attendees, including

makers,
avid moviegoers.
munity
truly
prise to see a
artists,
The South
Florida
comes together;
man
it is
and
comno sur-
wearing a tailored
the
networking
would be a success after only the

first event. To alert the industry, invitations were faxed to everyone listed in pro-
how
made
personal
South
Ph'ccJfst iltc IrrJcpcttJcttl

In
the East Village
band,
more
and netfor
working
within
context
of
the
party
served and free drink
provides proliterature
free
on
to raise
funding for projects,

it
useful for
etc.
equipment
mem-
have been known
Rodney Juneo and
to
loan out our personal equipment.)
Since
its
conception,
AIVF/SF has
assist-
ed in finding cast and crew for over 20

projects, ranging
The
from low-budget short
mainstream studio
recent focus of the
features.
AIVF/SF board
(Rodney Juneo, Aaron
Krall,
Newman, and
been on devel-
myself) has
oping a talent agency, record

production company. As
Lauren
label,
and
far as the future
is
concerned, the AIVF/SF
to
promote and develop independent pro-
jects
to
local
DJ
loaning purposes. (AIVF/SF board
visits to coffee
way from Palm Beach

Beach to distribute flyers. As
the
con-
ber
houses, college campuses, and nightclubs

all
and/or
AIVF/SF
Others have found
duction guides from the surrounding area.

I
for
local workshops, casting call information,
films to
The AIVF/SF knew
with
is
In addition, the
suit
parties
cludes
motional tables with
conversing to another in ripped jeans.
Moreover,
3/4", S-VHS, Hi8
coupons are handed out (one per guest)
film-
musicians,
actors,
atmosphere. Food
begin
usually
parties
with organized networking
ending
festivities
self,
evening
socializing
of his actors
(pictured) at the salon.
social
around
Combustion*
After Effects
and/or pro-
which allows
malized structure and
attendees.
edit*plus
to
crew and equipment.
South
is
studio4|@mindspnng.com
it is
announcements
the
cutting-edge
lifestyle that
E:
ject (s), in addition to
inside nightclubs; this
upbeat,
ex-
designated
time
of
utility
promoting one's
parallels
06
open-
is
information
the
parties.
choice
critical to
is
maximizing
biannual networking
parties
agenda
the
mic. This
Our meet-
networking
Discreet logic's
(Curdled).
salon sought a unique
AIVF/SF holds
Maas
John
Next on
ducer
Florida
ings are in the
(31 2) 254-1
independent film pro-
meet-
bookstores and pubs,
approach.
T + F:
Beach County Film

and
Commissioner
ings held typically at
South
Q&A.
the stage. Past speakers included the Palm
While most salons
the
H
Directly thereafter, a guest speaker takes
adhere to more traditional sit-down
4 J
kicks off with a screening of a locally pro-
mation, assistance, and career opportunity.
STUDIO
will
continue
and afford new opportunities
South Floridians whenever
to
possible.
result,
over 150 people attended the event. With
word-of-mouth added in to the equation,
Dominic Giannetti
Dominic Giannetti is a filmmaker, president of
the West Palm Beach Independent Film Festival,
and AIVF/SF president.
June 2001
THE INDEPENDENT
55
(i
Los Angeles, California
would be
Los Angeles has always presented

unique challenges
who
all AIVF members.

Other potential projects will include
importing AIVF's most successful New
panies to
shadow of Hollywood.
York programs, such as workshops and
These challenges have energized the local

AIVF membership into re-thinking as
demos. Furthermore, the creation of an

ongoing series of AIVF-L.A.-sponsored
ever-widening
training
the independent
for
seeks to navigate a career around the
and
names of participating com-
to build these relationships
distribute the
well
reactivating the
as
dormant L.A.
screenings
seen as a necessary step
is
toward the legitimacy of the local group.
members
Most
believe that L.A.

classes are offered
monthly.
is
advanced
need
greatly in
of a well- equip-
venue
ped
for
the ongoing pro-

fessional presen-

and Kentucky.
of inde-
tation
pendent
work.
Despite
Call for
Maria
more information
Troy,
674 292-7617
vals in
Members
Rejuvenated:
Angeles salon back
of the Los
in
action after a hiatus
of
ter
Now, a highly motivated group of

dozen independent producers
meet regularly to share their talents and
Salon.
several
resources.
The group
represents a micro-
cosm of the independent community in

LA., including documentarians (making
up the
largest percentage), narrative fea-
experimental
producers,
ture
an animator who
Some
works
as a publicist.
distributed,
fresh out of school,
and some are
pating their
COMING SOON!
also
of the group's participants have
been internationally
tributed,
media
grated
video
turned filmmaker, and
artists, a scientist
first film.
into
are
antici-
A few have self-dis-
work for major

As new members are inte-
while
outlets.
some
others
the
they
group,
have the
opportunity to join committees working
on various projects which seek to transform AIVF's L.A, salon from a passive to
an
streamed documentary
works-in-progress from
around the world, a
weekly webzine, and
international resources.
'of
Based on our
THE INDEPENDENT
com
June 2001
initial
brainstorming
meetings, one area of keen interest
awareness.
A salon committee now exists
to begin exploring the possibility of work-
ing with an existing venue in

AIVF-sponsored exhibition
One member
local film
try resources, leading to
is
the
membership
dis-
counts. L.A. has a large pool of equiprental companies, prop
and tape
suppliers.
an
program.
has presented the idea of a
AIVF-LA
integrated into the

series.
starting
market that could somehow be

screening
This way, filmmakers whose work
had not been selected for exhibition could

still have an opportunity to have their
work seen. This avoids the limitations of
the curatorial process, which by necessity
always
is
excluding good work.
Ongoing
projects,
ranging from the
screening series to the creation of a local
L.A. Salon website, are building teams
committed
growth of
to the
this
newly
formed organization. By tapping into the

the L.A. Salon
is
determined to be a con-
tributing force for local independents.
Michael Masucci
development of relationships with indus-
houses, postproduction
activity
from which to
enhance audience development or public
diverse resources in Southern California,
activist organization.
ment
56
Southern
which seem to
occur
on
a
monthly basis,
there is no cen-
www.wexarts.org
festi-
California,

i-nf o@docs-in-progress
the
plethora of
and costume
facilities,
One
and
film
Michael Masucci's work has screened on Bravo,
BBC, PBS, and
Museum
of
Modem Art,
,
Director of
goal of the salon
in the
of Contemporary Art (London) and

American Film Institute. He serves as Artistic
Institute
sits
EZTV
(www.eztvmedia.com) and
on the advisory board of DV Expo.

!tf>out
AIVF and FIVF

media arts
field
[he Association of Independent
Video
advocacy for the
ind Filmmakers (AIVF)
nembership
a national
is
organization
over
of
of
member
issues
Special
advertising
ATVF partners with the
mention
-oundation
Independent Video
for
offering a
md
To
broad
slate of education
information programs.
succeed as an independent you
leed a wealth of resources, strong

connections,
available.
ni
: ilm
& Video
vebsite, or
its
collective
voice
advocate for important issues,
in
new
and
as
well
each
issue.
as
special
books
on
international
and exhibition
resource
Our
New York
Filmmaker
City

listings to
the
needs
We
producer.
independent
of the
hundreds
answering
of
calls
and
include
-UTNE Reader-
profiles

The Independent
and
news,
regular
business, technical
Plus
the
festival
field's
listings,
and
on
legal matters.
best
ATVF
on
and discussion
distributor
and
Independent
links,
advocacy
articles,
and
archives
much more
areas.
members
funder
of
The
to come!
source
of
funding deadlines,
across
cities
the
member-organized
member-run
provide
togethers
in
These
country.
get-
unique
the AIVF website.
ADVOCACY
Since AIVF
members
first
gathered

its efforts

INSURANCE
latest
profiles,
columns
COMMUNITY
information,
to
lowdown
the
and
business
ranging
list).
and
issues
aesthetic
featuring
JjttljJsJ^prJjJsJiJjjJ
current
of
from
insert for a
web-original
spectrum
members
services,
field,
offers:
editing,
& EVENTS
WORKSHOPS
local
what AIVF
membership
transfers,

shipping,
WWWAIVF.ORG
Here's
rentals,
processing,
e-mails each week!
ceminding you you're not alone.
and auto
film
Independent.
to
AIVF
INFORMATION
to
aising
subjects
regional activity,
members
profit
ind Film (FIVF), a 501(c)(3) nonprofit
highlight
rideomakers.
services.
experimental media,
including
technologies,
TRADE DISCOUNTS
and
activities
md
fiercely
and announcements
exhibition venues,
)ffering support for individuals and
Members
are
eligible
to
purchase
issues
Members
concerning our
field.
alerts,
and
public
collective actions.
policy,
and
the
Includes:
DUAL MEMBERSHIP
All of the
BUSINESS
8c
same household, except
for the year's

All the
JOINT MEMBERSHIPS
Special AIVF memberships are also available through AIVF Regional Salons as well as
organizations ask for details!

Contact your subscription service to order or call AIVF at (212)
MEMBERSHIP RATES
yr.
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yr.
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Dual
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id)
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add $1S
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yr.
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All other countries

or call
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in the U.S.
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arts
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Exp. date:
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St,
6th
fl
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first issue
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ASSDCIATID
J
INDEPENDENT
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AND
FILMMAKERS
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TOTAL LY INDP(NDMT
The AiVF Regional Salons provide opportunity

for
members
to discuss work,
meet other inde-
the AIVF
country. Visit
Austin,
When: Last Monday of the month,

WJiere:
pm
Cleveland,
Bad Dog Comedy Theatre,
Anne
Contact:
more
[email protected]
OH: Ohio
Independent Film
Festival
110 Riverside

details.
Petet Wentworth, [email protected]

7
del Castillo, (512) 507-8105,
Contact:
Annetta Marion or Bernadette
Gillota, (216)
651-7315,
[email protected]
Be sure
to
date, time,
Birmingham, AL:
and
When:
New
Salons Forming!
OH:
Cincinnati,
Lori Holladay
considering
is
would
starting a Cincinnati salon. If you
WA:
re -starting
Heather Ayres
our Seattle salon.
participate, contact
is
If
Dallas,
Homewood, AL
[email protected]
Edison, NJ:
(205) 663-3802
considering
Boulder,
you
When:
like to
[email protected]
CO:
First
Wednesday of the month,
Wliere: Boulder Public Library,
pm
1000 Arapahoe
When:
First
Mike
Contact:
mike
& Music,
Camom
pm
553 Amsterdam Ave

(404) 352-4225
x. 12,
provide
and
artists
broadcast
to
quality
post-production
video
services
at
discount rates.
Film to Tape
Transfer
$175/HR.
$120/hr.
$ 85/HR.
Animation Stand
$ 85/HR.
Digital Audio
Post
$ 85/HR.
PO Box
Tel:
184 NY,
When: Last Thurs. of the month 6:30-8:45

Wtere: Charleston County Library,
68 Calhoun
&
Info.
NY 10012-0004
212.219.0951
Fax: 212.219.0563
www.standby.org
THE INDEPENDENT
[email protected]
June 2001
NE: Nebraska Independent Film
5:30
pm
pm
Street
[email protected],
www.lincolnne.com/nonprofit/nifp
St.
Contact: Peter Paolmi, (843) 805-6841;
RAM
We
1519 West Main
When: Second Wednesday of the month,
Charleston, SC:
GA: IMAGE
Mark Wynns,
SWAMR
Project
[email protected]
[email protected]
58
MA:
(518) 489-2083,
When: Second Tuesday of the month,
Contact:
Where:
Lincoln,
Boston,
Where: Redlight Cafe,
SWAMP
When: Last Tuesday of the month
Contact: (713) 522-8592,
pm
Wolf Rd.
@ videosforchange com
Atlanta,
Houston, TX:
[email protected]
Wednesday of the month, 6:30
TX: Video Association of Dallas
like
to participate, contact [email protected]
Seattle,
First
Where: Production Plus, 2910 Crescent Ave.,
Qjh
EZTV
Los Angeles, CA:
Where: EZTV, 1653 18th Street, Santa Monica
have raised serious questions

UNLESS OTHERWISE NOTED,
AIVF events take
all
place at our office (see box below).
[email protected]
for all events:
about
RSVP required
MEET & GREET

NATIONAL ENDOWMENT
FOR THE HUMANITIES
Film Society
When:
First
Where: Milwaukee Enterprise Center,
Room
2821 North 4th,
When:
140
June
Tues.,
There
no such thing
is
as a totally objective
documentary, nor can you recreate
a life story
Dan
filmmaker
the
New
Moderated by the
Mitchell,
to
the
is
history?
York Times'
Elvis
panel will explore these and
this
other issues of producing creative non-fictions.
6:30-8:30 p.m.
Wilson,
As
(414) 276-8563, www.mifs.org/salon
OR:
ANNUAL MEMBERSHIP MEETING
the largest hinder of humanities programs
in the U.S., the
Portland,
of
obligation
members; $10 general public
Cost: free/AIVF
Contact: Brooke Maroldi or
5,
the
responsibility of filmmakers to historical truth.
with total accuracy. In that case what
Milwaukee, WI: Milwaukee Independent
Films like Amistad, ]FK, and Schindler's List
aivf events
pm
When: Third Monday of die month, 7:30
/si2,j'-Lj
tions
that
NEH
awards grants to
institu-
and preserve knowledge,
create
When:
June
Friday,
by a reception
8,
at the
time 6-8 p.m., followed
AIVF
office
enrich classroom learning, expand humanities
Where: Tribeca Film Center, 375 Greenwich
[email protected]
content on the Internet, and bring ideas to
Cost: free to
Rochester, NY:
When:
First
museum
through public television,
tions, libraries,
docs and the
and more. Meet program
David Weinstein and get some
cer
NEH,
government funding
proposal.
on
on current
for the humanities,
and
Read up on the NEH: www.neh.gov
[email protected]
Part
First
Monday
of the
ser-
to voice your
What we
will offer in the
input, so be sure
and lend your perspective on what

should be to independents.
AIVF AT
THE ATLANTA FILM & VIDEO FESTIVAL
7,
IMAGE
in-kind
donations,
and
(June 8-16, Atlanta, Georgia). Presented by
Grants,
II:
what programs and
& Sheppard
month
Part
a great
on members'
last year.
to attend
6:30-8:30 p.m.
When:
is
opinion on what you've seen from us through-
Private Offerings
I:
When: Thurs., June
Tucson, AZ:
to find out
AIVF can and
Sponsored by
Dominic Giannetti, (561) 575-2020,
members,
vices are in development,
future depends
IN BRIEF: PRODUCERS LEGAL SERIES

FILM FINANCING (IN TWO PARTS)
South Florida, FL:

Contact:
AIVF's Annual Members' Meeting
opportunity to meet staff and select board
out the
[email protected]
Members and nonmembers
all.
welcome!
offi-
insight
some sound advice on submitting your
receive
San Diego, CA:
a perspective
life
exhibi-
institutional
Film
& Video Center
&
[email protected],
corporate sponsors
When:
Washington,
DC:
Cost:
DC Salon hotline

(202) 554-3263
x. 4,
[email protected]
reach
AIVF

is
(between Spring
York
& Vandam)
in
St.
New
C
independent
independent producers,
topics
(all
and
and retrospective
past 25 years of the festival.
www. imagefv.org
or (404) 352-4225.
THE BUSINESS OF PROMOTING AND SELLING YOUR FILM
W\en: Saturday, June
and electronic
16,
10-11:30 a.m.
Museum of Art,
Hill
Auditorium,
GA
1280 Peachtree
St.,
With
number of independent
Atlanta,
AIVF CO-SPONSORS:

LAKE PLACID FILM
BY PHONE: (212)
films, a digital side-
directors.
W\ere: High
from essential directories & trade

to
160
discussions,
Production Legal Issues
Distribution Deals
panel
WHAT'S THAT BUZZ?

Sept. 13:
Guilds and Unions
magazines
bar,
dates subject to change)
Nov. 15:
of print
film, will feature
film, representing
writers,
Oct. 18:
or 9 to Houston,
dent
Info.:
Upcoming
celebrating 25 years of indepen-
Innes
screenings of works by filmmakers from the
or E
The AFVF,
is
& Sheppard. She
houses hundreds
resources
fl.,
general public
moderator and co -producer
series
specializes in
WED. 11-9
6th
AIVF members; $30
$20
304 Hudson
located at
Subways:
City.
to Spring.
14,
Gumnitsky, an entertainment attorney with
office
June
(per session). Details posted at: www.aivf.org
The
The AIVF
Thurs.,
6:30-8:30 p.m.
FORUM
807-1400
(June 6-10, Lake Placid,
a record
films
vying for the same festival spots and distribu-
NY)
tion outlets,
many
quality projects
through
fall
the cracks simply because the right
Real to Reel:
When Does
Creativity
Become
a Lie?
see
them.
strategies to get
BY INTERNET: WWW.aivf.org;
[email protected]
don't
When:
Further
Friday,
info.
June
8,
9:45 a.m.
www.lakeplacid-filmforum.org
audiences and
Panelists
discuss
people
the
best
the attention of the press,
distributor--,
and share
tips
on
negotiating a distribution deal.
June 2001
THE INDEPENDENT
59
southside
edit
THE THREE-ACT STRUCTURE

IN
v/illiamsburg
brooklyn, ny
AVID
room for rent

offline/online avr 77
beta dv vhs
50% less than manhattan rates
718.609.1023
DOCUMENTARY FILMMAKING
When:
Tues., June 19, 6:30-8:30 p.m.
(Wine
& goldfish reception follows.)

AIVF members
Cost: $5
Should documentaries follow a three -act dramatic structure, complete with plot points,
stakes, build, etc.? In our short attention,
ket-driven world,
nuanced
mar-
there really a place for
is
about obscure people and quiet
films
phenomena?
Join filmmakers Ralph Arlyck and
Dempsey Rice
storytelling
Call
only
for a discussion of
and the three-act
for Entries
documentary
structure.
AIVF AT
THE HUMAN RIGHTS WATCH FILM FESTIVAL
Deadline:
August
1,
HRW
The
For info and

application
call 718-542-4139
fax 718-542-4988
or e-mail:
International Film Festival
on human
human
and
rights themes.
on
face
festival puts a
get in at the $5
875-5600.
info: (212)
HRW Film Festival,
MediaRights.org
16,
6:30-8 p.m.
Where: Walter Reade Gallery, Lincoln Center
HRW
To celebrate:
bers that
festival,
films
and the AIVF mem-
make them, MediaRights'

Media That Matters,
online film
pho-
as well as
tographer Joseph Rodriguez' exhibit, ]uvenile.
AIVF
Proudly Co-Presents:
Narrative
Promises by B.Z. Goldberg and Justine Shapiro.
Documentary
This documentary examines the
Experimental
Films for Young
Palestinian
plex,
Audiences
The
When: Saturday, June
Categories:
the
Filmmaker Reception:
5th Annual
Point
940 Garrison Ave.,
Bronx, NY 10474
The
AIVF members
dignity.
discounted rate! Further
AIVF and
The
is
threats to individual freedom
Presented by
South Bronx Film

& Video Festival
Oct. 11-13,2001
CITY)
leading showcase for distinguished films/videos
SouthBronxFilm
[email protected]
NEW YORK
(JUNE 15-28,
2001
and
charged
Photo by Joseph Gilmore

Model: Hammer
Body Painting by Tats Cm
Israeli
city
lives of
seven
children in the com-
of Jerusalem.
AIVF CO-SPONSORS:
Design: Rice-Gonzalez Public Relations
SELECT SCREENINGS AT
THE WALTER READE THEATRE, NYC

Presented by the Film Society of Lincoln Center

AIVF members may
THE EDIT CENTER

60
THE INDEPENDENT
June 2001
The Walter
at
located at Lincoln Center,
165 W. 65
is
St. at
office.
Broadway
in
NYC.
For more
contact the Film Society of Lincoln
box
office
at
(212) 875-5600
or
www. filmlinc com

.
June 1-12: Contemporary

June 15-28:

(list-
show
Reade Theatre
info,
in
box
ticket! Please
membership card
Center
Become
ed below) for just $5 per
Human
films
Rights
from
Watch
Italy
Internat-
ional Film Festival
June 29- July 12: Films by Tsai Ming-liang
The Foundation
Minutes from the AIVF/FIVF

Board of Directors Meeting
The winter meeting of the Board of
Directors of AIVF was held at AIVF's offices,
on February 3-4. Board members present:
Angela Alston, Doug Block, Paul Espinosa,
DeeDee Halleck, Vivian Kleiman, Jim McKay,

Robb Moss, Valerie Soe, Ellen Spiro, Bart
Weiss, Elizabeth Peters (ex officio); absent: Lee
Lew-Lee. Staff present: Michelle Coe, Laura

Davis,
Thalia Harithas, James
Power,
Sandy Spencer,
Thomson;
Patricia
McKay welcomed new
Independent Video and Film (FIVF), the educational
board
members Alston and Spiro and returning

board members Weiss and Espinosa. McKay
noted that the Planning Committee would be
very active in the year 2001 and encouraged
more active in fundraising

than they had been in the prior year.
es
Membership Coordinator, noted an
Patricia
Thomson, Independent
editor in chief,
reported that the magazine was

printed
on
now
being
a brighter paper stock.
The Chair then
outlined the composition of
AIVF/FIVF's various committees including

Executive
the
Committee.
appointments were
Weiss,
co-Chairs;
Valerie
Soe,
as follows:
Board
Robb Moss,
Vice-President;
office
Jim McKay/Bart
President;
Lee Lew-Lee,
Secretary; Paul Espinosa, Treasurer.
Committee highlights: the Membership

Committee resolved that a special effort would
be made to raise membership; the Development Committee announced it would seek
sponsorship for the new Master Class series set
to launch in fall 2001. The Advocacy Commitproposed raising funds to reinstate an
tee
desk at AIVF. The Planning

Committee discussed AIVF's future office
advocacy
location options.
Presentation of a revised budget for Fiscal
Year 2000/01 was voted and approved by the

full
board.
motion
Chair Jim
McKay
asked for a
on the candidates
for the FIVF

The list was approved with two abstenNominated members will be approached
to vote
Board.
tions.
with an invitation to serve.

Elizabeth Peters led the board in a brain-
storming exercise on fundraising and outreach.

Ideas finding most support included the creation of a Public Service
change
in the
Announcement and
cover price of The Independent,
which had not gone up since 1996.

Dates for future 2001/02 Board Meetings
were decided on:
to
June
8, 9,
10 for the spring
board/general membership meeting; Sept.

for the fall meeting;
the winter meeting.
and Jan.
19, 20,
8,
2002
for
AIVF
of the
We
members:
also wish to thank the following individuals and organizational
D. and Catherine T
The Academy Foundation
The John
Sine
m ? Arti
The William and
Flora Hewlett
Foundation
NYSCA
LEF Foundation
BusineSS/lndUStry Members:
Entertainment
Co.;
CA:
for the Arts
New

Creatures
encouraging increase in membership while
including

activities
Harithas,
community,
Calliope Films, Inc.; Dr. Rawstock;
other staff report highlights, Thalia
independent media
publication of The Independent and a series of resource publications, seminars
the board to be
Among
affiliate

E35ZjExZZ2
Kgama.
absent: Scott Castle, Moikganstsi
Chair Jim
Paul
Israel,
for

Action/Cut Directed By Seminars; Attaboc LLC;
Co.; Film Society of Ventura County; Forest
Eastman Kodak
Marshall/Stewart
Productions,
Inc.;
Moonshadow
Production
&
MPRM;
Somford Entertainment; CO: The Crew Connection; DC: Consciousness Squared

Communications; FL Tiger Productions, Inc.; GA: Indie 7; IL Optimus; MA: CS Associates; Glidecam
Industries; MD: The Learning Channel; U.S. Independents, Inc.; Ml: Grace & Wild Studios, Inc.;
Zooropa Design; NJ: Black Maria Film Festival; DIVA Communications, Inc.; NY AKQ Communications,
Ltd.; American Montage; Analog Digital Intl., Inc.; Archive Films, Inc.; Asset Pictures; Black Bird Post;
Bluestocking Films, Inc.; The Bureau for At-Risk Youth; C-Hundred Film Corporation; Cineblast!
Prods.; Corra Films; Cypress Films; Deconstruction Co.; Dekart Video; Dependable Delivery, Inc.; DV8
Video Inc.; Earth Video; Guerilla News Network; Human Relations Media; Hypnotic; Inkling Prods.;
Kitchen Sync Group, inc.; KL Lighting; Mad Mad Judy; New York Independent Film School; Nuclear
Warrior Prods.; NTV Studio Productions; On Track Video, Inc.; One Kilohertz; The Outpost; Partisan
Pictures; Paul Dinatale Post, Inc.; Prime Technologies; Seahorse Films; Son Vida Pictures, LLC; Sound
Mechanix; Stuart Math Films, Inc.; Suitcase Productions; The Tape Company; Tribune Pictures;
Winstar Productions; Wolfen Prods.; OR: Angel Station Corp.; PA: Smithtown Creek Prods.; TX: Rose
Noble Entertainment; Upstairs Media Inc.; UT: KBYU-TV; Rapid Video, LLC; VA: Bono Film & Video;
Dorst MediaWorks; Roland House, Inc.; WA: Amazon.com; Global Griot Prod.; WV: Harpers Ferry
Research;
Center Library; France: Kendal Prods.
Nonprofit Members:
Film
Inst.;
AZ:

Filmmakers Alliance; Intl. Buddhist Film Fest.; Itvs; LEF Foundation; Los Angeles Film Commission;
Media Fund; NAATA; Ojai Film Soe.; Reach L.A.; San Francisco Jewish Film Fest.; U of Cal. Extension,
CMIL; USC School of Cinema TV; Victory Outreach Church; Whispered Media; CO: Denver Center for
the Performing Arts; DC: Corporation for Public Broadcasting; Media Access Project; FL: Manatee
Community College; GA: Image Film & Video Center; HI: Aha Punana Leo; U. of Hawaii Outreach
College; ID: Center for School Improvement; IL: Art Institute of Chicago/Video Data Bank; Chicago
Underground Film Fest.; Community TV Network; Little City Foundation; PBS Midwest; Rock Valley
Coll.; KY: Appalshop; MA: CCTV; Coolidge Corner Theatre Foundation; Harvard Medical School; Long
Bow Group Inc.; Lowell Telecommunications Corp.; LTC Communications; Somerville Community TV;
MD: Laurel Cable Network; Native Vision Media; Ml: Ann Arbor Film Fest.; MN: IFP/North; Intermedia
Arts; Walker Arts Center; M0: Webster University Film Series; MS: Magnolia Indie Fest.; NC: Doubletake
Documentary Film Fest.; Duke University-Film and Video; NE: Great Plains Film Festival; Nebraska
Independent Film Project, Inc.; Ross Film Theater, UN/Lincoln; NM: Taos Talking Pictures; NY: Center
for New American Media; Cinema Arts Center; CUNY TV Tech Program; Communications Society
Cornell Cinema; Council for Positive Images, Inc.; Creative Capital Foundation; Crowing Rooster Arts
Downtown Community TV; Educational Video Center; Film Forum; Film Society of Lincoln Center
Globalvision, Inc.; Guggenheim Museum SoHo; John Jay High School; Konscious, Inc.; Listen Up!
Manhattan Neighborhood Network; National Foundation for Jewish Culture; National Video
Resources; New York Film Academy; NYU TV Center; New York Women in Film and TV; Open Society
Institute/Soros Documentary Fund; OVO, Inc.; Paper Tiger TV; Spiral Pictures; Squeaky Wheel; Stony
Brook Film Fest.; Thirteen/WNET; Upstate Films, Ltd.; Women Make Movies; OH: Athens Center for
Film & Video; Cleveland Filmmakers; Greater Cincinnati & Northern Kentucky Film Commission
Media Bridges Cincinnati; Ohio Independent Film Fest.; Ohio University/Film; Wexner Center; OR
Communication Arts, MHCC; Northwest Film Center; PA: DUTV/Cable 54; PA Council on the Arts
Prince Music Theater; Scribe Video Center; Temple University; University of the Arts; Rl: Flickers Arts
Collaborative; SC: South Carolina Arts Commission; TN: Nashville Independent Film Fest; TX: Austin
Cinemaker Co-Op; Austin Film Soe.; Southwest Alternate Media Project; Worldfest Houston; UT:
Sundance Institute; VT: Kingdom County Productions; WA: Seattle Central Community College; Wl
UWM Dept. of Film; U of Wisconsin Dept of Communcation Arts; Wisconsin Film Office: Argentina
Lagarto Producciones; Canada: Toronto Documentary Forum/Hot Docs; Germany: International Shorts
Film Festival;
India:
Foundation
FriendS Of FIVF:
for Universal Responsibility
Ulises Aristides, Aaron Edison,
Suzanne
Griffin,
Leigh Hanlon, Robert
L.
Hawk, Diane Markrow, William Payden
June
AVI THE
INDEPENDENT
61
-i-U I.I.U-CT*
AIVF
AIVF offers many benefits

For complete
our members.
to
www.aivf.org (note: you
1400
number
236
to
Stock
must provide your mem-
to log on) or call (212)
have a Benefits
was
This information
visit
List
807-
mailed
to you.
updated 4/01 and
last
is
Expendibles
15%
Magno Lab
NY)
(CA,
IL,
10%
discount on film and videotape purchases.
Emporium (New
Film
10%
House;
Random Room and Roland

counseling
with
Discounts on workshops, Avid
AIVF Offers
Edgewood Motion Picture Studios

25% off production packages.
Discounts on FIVF Published Books
Film
York, NY)
Editing
(Rutland, VT)
York, NY)
10%
25%
Post (Aries Media Group) (New York, NY)

discount on
Film Friends (FL
&
NY)
10%
20%
AIVF Mailing
Glidecam Industries (Plymouth, MA)

of folks
who
Discounts on Classified ads
(New
Digital (at Atomic Pictures)
discount on
all
York, NY)
postprod. and graphics services.
discount on editing services and
facilities.
discount on extensive range of equipment rentals.
Discounted film scoring services.

appreciate indie media!
in
The Independent
Discounted Display ads

only: AIVF
office.
in
The Independent
only: short-term
& 32"
City Lights
Communications (New
&
discount for walkies, audio
York, NY)
10%
Media Group (New York, NY)
discount on Avid rentals and post services.
video packages.
Diva Edit (New York, NY)

Lichtenstein Creative Media
(New
York, NY)
10%
discount on Avid editing services and
Downtown Community TV Center
rental.
Discounts on workshops, Avid

Mill Valley Film
35%
facilities.
discount on Ikegami and BetaSP equipment
monitor.
desk rental
Rent a desk and voice mail box at our SoHo
discount on body-mounted stabilizer systems.
Hello World
15%
Conference Room
Seats 20, with vcr
15%
10%
For Business & Nonprofit members:
Members
video postproduction services.
Brass Rail Music (New York, NY)

list
Reach a core group
NYC
all
Bee Harris Productions (New York, NY)

programs offered or
of
co-presented by AIVF across the U.S.
in
Postproduction
Consulting on insurance; DVCs for purchase or rent.
& Events
Discounted admission to dozens
Located
&
rentals.
Baby
Emporium (New
York, NY)
video services, editing, duplication, film-to-
off
AMG
Members
and
tape transfers, and foreign video conversion.
Downtown Community TV Center (New

& DVC
(New
Rafik
Production Resources
Michele Frank; film stock with Kodak.
AIVF Programs
transfers; titles
film-to-tape transfers; video editing.
10%
development
career
NY)
Kodak
Rates negotiated on a case-by-case basis.
with
& Video (New York,

10% on all services: dailies, sound
York, NY)
video and audio tape.
off film,
Link, Inc. Film
Special rates on developing, printing, sound, transfers.
Discounts!
Post services
discount on DV to Beta dubs.
Edgewise Media (formerly Studio Film & Tape)
f/x;
subject to change without notice.
New
&
details, including point persons,
contact information, and discount codes,
bership
MEMBER BENEFITS & TRADE DISCOUNTS
Group
discounts on edit
(Mill Valley,
facilities
&
& DVC
rentals.
CA)
production packages.
DV8Video, Inc. (New York, NY)
office.
Discounts on Avid services, and duplication.
Production Central (New York, NY)
Edgewood Motion Picture Studios (Rutland,

35% off Avid or Protools; studio or to go.
Production Insurance
10%
Special discounted rates on a variety of insurance
plans with the following companies:
10%
discount on first-time Beta-SP deck rentals.
ENTV Studio Productions (New
discount on camera rental packages.
10%
C & S International Insurance Brokers
Soho Audio (New
York, NY)
CGA Associates
10%
audio equipment rentals.
discount on
all
discount on
York, NY)
discount for audio postproduction services.
Texcam (Houston, TX)
The JLS Group

S.
York, NY)
editing services.
GLC Productions (New

10-30%
Marvin
all
VT)
Kaplan Insurance Agency
10%
Harmonic Ranch (New
discount on film camera packages.
York, NY)
Discounts on sound editing, music, mixing
&
design.
Homeowners & Auto Insurance
15%
off full
10%
CGA Associates
Labs
Health Insurance
10%
20-30%
Teigit (for
CIGNA
Island Media International
50%
10%
(Arlington, VA)
(New
York, NY)
Avid editing; sound mix, design, editing;

authoring, packaging, duplicating.
Media
Loft
(New
York, NY)
discount on editing,
titling,
dubbing, special effects.
discount on normal processing.
Mercer Media (New York, NY)
discount with HIP (NY only).
Cinepost (Atlanta, GA)
50%
discount on audio services and video editing.
Discounts on negative film processing, film-to-video
CIGNA health plans)
transfers and
in
off
DVD/CD
5%
Strategies
health plans coverage
York, NY)
discount on nonlinear editing system.
discount on film and tape transfers and duplications.
Bono Films
Discounts on various plans.
Offers a
Transfer Houses
Bee Harris (Mt. Vernon, NY)
Bader Associates
RBA Insurance
&
Communications (New
Hello World
day video shoot.
DVD
Mill Valley Film
copies.
limited states.
35%
Group
(Mill Valley,
CA)
discounts on Media 100 SX or Avid.
DuArt Film and Video (New York, NY)

Mint Leaf Productions (New York, NY)
Discounts on color negative developing, workprinting,
Dental Insurance
15%
blow-ups and
off Final
Cut Pro Edit System
Northeast Negative Matchers, Inc.
I-Stream TV (New York, NY)

(Springfield,
Teigit/Cigna
62
THE INDEPENDENT
rental.
titles.
Bader Associates
10%
June 2001
off
encoding
into
Windows Media
or RealVideo
MA)
file.
10%
discount on negative cutting services.

10% on titles and f/x; video editing.
Car Rental
Discounts on car rentals with:
One
10%
Art
(New
York, NY)
Alamo; Avis; Budget; Hertz; National
discount on Avid rentals.
Outpost Digital (New York, NY)
10%
With the mediamaking

landscape morphing
almost daily,
Hotels
discount on editing suite rentals.
Choice Hotels International
Discounts within
The Picture Room (New York, NY)
chain, including Quality Inn, Comfort Inn, Sleep Inn,
30%
Clarion Hotels, EconLodge,
discount on Avid rental and editing services.
Picture This Music
10-30%
off of
Suites locations.
York, NY)
at
Filmmaker's Collaborative (NY, NY)
book rate for Avid
Internet Services
25%
off
Inc.
commercial and nonprofit web hosting pack-
initiatives,
people,
ages & various SLP/PPP accounts.

discount for postproduction services.
Random Room
20% off hourly rate of consulting (incl Final Cut Pro);
15% off fees for compression, title design, web design.
and advocacy
Legal Consulting
(New
the
field...
clearance reports
off legal
(to qualify for
E&O
York, NY)
insurance coverage) for
off
in
Hollywood Script Research (Hollywood, CA)
10%
Rafik
10%
AIVF keeps you

on top of new
developments,
opportunities,
Echo Communications Group,
editing.
15%
and Mainstay
Inn,
audio postproduction.
off digital
The Post Office
20-50%
(New
Rodeway
first script
submitted.
video editing.
Consultation; discount on legal services with:
Ren Media (Rahway,
NJ)
Cowan, DeBaets, Abrahams & Sheppard
Roland House (Arlington, VA)
10%
rate card on
all
10%
(New
Sound Dimensions
Editorial
and Bimbler, LLC (New York, NY)
Daniel, Seigel
Discounts on music scoring for film/video.
(New
York, NY)
& sound
discounts on transfers, effects
services.
ISM
York, NY)
Stephen Mark Goldstein (New York, NY)
Law
Offices of
Mark Litwak (Beverly
Splash Studios (New York, NY)
Ivan Saperstein, Attorney at
35%
(New Rochelle, NY)
on hourly looping and sound editing fees.
Tiny Lights, Inc,
25%
discount on
(New
all
Law
York, NY)
15-30%
Virgin
20%
discount on
Moon
Virtual
editing services
all
and
facilities.
all
off
any Avid
(New
York, NY)
members on
Financial Services
Bell
&
Co.
LLP (New York, NY)
Avid editing systems.
editing.
Insurace (New York, NY)
Life
Discounts on
15%
Law
and
life
disability insurance plans.
10%
Hielndependent
MONTHLY
FILM S VIDEO
(New
York, NY)
money market
account for small businesses.
services.
Premiere Tax & Accounting Services (NY, NY)

25-40% off various tax returns and services.
Todres
Software
&
Rubin, CPAs (New York, NY)
Free tax consulting.
10-15%
membership
giving you
Discounts on Final Draft screenwriting software.
Counseling Services
Amenities
Michele frank,
10%
Village
With our low-cost
discount on annual fees.
Final Draft, Inc.
Cinema
is all about...
discount on the handling fee for payroll services.
Merrill Lynch
Image Design Studio (New York, NY)

20-30% discounts on various graphic design
reviews,
and
funders, and profiles
of makers who
understand what
being independent
distributors
Media Services (New York, NY)
Offers an all-inclusive checking, savings,
Other Production Services
U
Through
The Independent,
keep up to date with
new product
Offices of Miriam Stern
Guardian
Media (New York, NY)
Discounts to AIVF
CA)
Free consultation on tax issues.
Post (Ventura, CA)
discount on
Hills,
music and sound design services.
Video Active Productions (New York, NY)
HE
(New
York, NY)
CSW (New
off individual
York, NY)
sessions (psychotherapy, career
counseling, networking
& marketing
skills)
Discounted ticket prices: $6.50 for AIVF members.
Shipping Services
Drama Book Shop (New York, NY)

15% discount with card on all purchases.
Airborne Express (c/o Meridian One)
Film Society of Lincoln Center (New York, NY)
Up
to
42%
off
Airborne Express delivery.
Discounted ticket prices for select series.
To receive these benefits, visit www.aivf.org
Two Boots (New York, NY)

10% discount at all NYC restaurant
or call (212) 807-1400 to join AIVF today!
of Cin exhibition space,
branches, the Den
production
discounts, access
to affordable
health insurance, as
WELL as
our
resources, can you

afford not to join?
www.aivf.org
and Two Boots Video.
June 2001
THE INDEPENDENT
63
sj-^J
Daniel Steinhart
by
there's no time for
market
symbol of immobility and must decide
those
slow builds. With
whether to keep the store open or aban-
nomic
broadcasts
national
offers shame-
current releases and
for
plugs
film
"On View"
this in mind
less
those
independent
today's
In
who want
Jamal dreams of a successful musical

career and views his father's bodega as a
don his father's way of life.

P.O.V (PBS, June, check local
ly
to uphold their seeming-
bucolic small-town
who believe
way of
life
in the progress
versus
and eco-
benefits the megastore promises.
listings).
independent
of
films and videos in the hope that you'll
who knows
them.
support
maybe
they'll DO THE SAME FOR YOU SOMEDAY.
THEATRICAL
Sexy Beast (Fox Searchlight, June
6).
Award-winning commercial and video

virtuoso Jonathan Glazer marks his feature film debut with this stylish
mate love
story.
Breaking
all
and
inti-
genre molds
by infusing the gangster genre with color
and
fantasy, Sexy Beast tells the tale of ex-
Gary
gangster
"Gal"
Dove
Winstone), whose quiet existence
(Ray
dis-
is
rupted with the arrival of his psychotic
nemesis
is
Don Logan
hell-bent
to
London
for
Lumumba
On
NY).
(Ben Kingsley),
on convincing Gal
one
who
to return
last job.
(Zeitgeist Films,
June 27,
June 30, 1960, a young nation-
Lumumba, became the first

government of the newly independent Congo. After only two months
in office, the charismatic leader was
Patrice
alist,
head of
forced out of office during a political
cri-
Now
in
its
Honor (June 19). Winner

of the Sundance Festival's Audience
Award,
Tom
Shepard's film
and assassinated shortly thereafter.

Acclaimed director Raoul Peck (The
year-old scout leader
Man
movement
sis
on the Shore) constructs a gripping
political thriller,
story
of
which recounts the true
Lumumba
Ebouaney) and
(played
by
Eriq
his struggle to achieve a
united Africa in the face of opposition
from Belgian authorities, the CIA, and

his
former friend and eventual dictator
Joseph Mobutu (Alex Descas).
is
a portrait of
12 -year- old boy scout Steven Cozza, 69-
Dave
Rice,
and the
they establish, Scouting for
this
estrangement, and assimilation in
drama
Kitchen.
set in
The
New
film
Alan
Berliner's
(June 26),
er,
is
aimed
The Sweetest Sound
next up where the filmmak-
own name's meaning,
searching for his
hosts and films a dinner for 12 other Alan
What
on
begins as a search for
Toum
first
generation Egyptian
American, who struggles to balance
his
64
(Mark Margolis).
THE INDEPENDENT
lune 2001
the
check
the
this
and
local listings).
directed
classic
by
American
one -year battle that

town of Ashland,
small
when Wal-Mart
a megastore
decides to build
on the edge of town. The
clash between the conflicting versions of
personal ambition with his responsibility

to his immigrant father
Peled,
follows
polarizes
7,
produced,
Micha X.
Virginia,
(Jason Raize), a
When Wal-Mart Comes to
(PBS, June
Written,
tale
on Jamal
G.A.P
the
will
is
an organization that
present a free screening of the follow-
ing five youth-produced films: Velocity of
Coming Together
American dream has on one
side
is
a video
on the
repre-
sentation of race, age, class, and gender;
Survivors of
War
refugees from the
TV program;
mortality.
York City's Hell's
centers
close.
economically disadvantaged youth. G.A.P
Store Wars:
family,
up
at over-
tation
bahn, First Coda) explores the issues of
Screening and Discussion (June 7,

Manhattan Neighborhood Network, NY)
Here's a chance to see some youth media
turning the boy scout's anti-gay policy.
All, a gay/straight alliance
identity gradually transforms into a medi-
The Kitchen (PBS, June 17, check local

listings). Andre Degas (American Auto-
Global Action Project Youth Media
provides training in media production for
Berliners.
TELEVISION
YOUTH MEDIA
14th season, P.O.V. 2001 kicks
off with Scout's
umentary
Say
is
produced by Kosovo
New Immigrant Youth

No to Tobacco is a doc-
created
with
the
Chinese
Progressive Association about the dangers
of smoking; Extra, Extra;
Boy Becomes
Washington Heights reveals

the stereotypes about teen pregnancy
Pregnant
in
through gender reversal; Appreciation/

Exploitation
examines
the
difference
between appropriation and exploitation of

cultural symbols.
and
to
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to the editor, letters
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edited for length.
All
Inc.
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Press Index and
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member
Foundation
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indexed
in
the Alternative
& Rim,
Inc.
2001
tor;
Israel,
James
information sen/ices associate; Bo Mehrad, information services assistant;
10-point
setting
Greg Gilpatrick & Joshua Sanchez, web consultants; Anne Hubbell, development
associate;
Nikki
Byrd,
Rani Soppa,
interns;
AIVF/FIVF
legal
counsel
Micro Manager
37
AIVF/FIVF staff: Elizabeth Peters, executive director; Alexander Spencer, deputy direc-
by
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list
of helpful hints for
up a microcinema.
Brian Frye
I.
Freedman, Esq. Cowan, DeBaets, Abrahams & Sheppard.
Visit
The Independent
San Francisco Giant
38
AIVF/FIVF Board of Directors: Angela Alston (secretary),
(treasurer),
Doug
Block, Paul
Espmosa
Dee Dee Halleck, Vivian Kleiman, Jim McKay (co-chair), Robb Moss (pres-
ident), Elizabeth Peters (ex officio),
Ellen Spiro, Bart
James Schamus*,
Valerie Soe (vice president),
Weiss (co-chair), Debra Zimmerman*.
its beginnings 40 years ago in Bruce Baillie's backyard,

San Francisco Cinematheque has become part of the bedrock
of the experimental media scene.
Since
the
by
THE INDEPENDENT
July
2001
Michael Fox
Departments
Upfront
42
4
Technology
Low-cost
Editor's Note
tools
Letters
News
Oberhausen
DVDs
by
shorts
German MTV;
TLA
DVD production
make
creating your
own
and do-able.
affordable
Greg Gilpatrick
on
air
launches
44
Books
DVD/video wing; developments
A timely reissue of The Film
in super 8 blow-up.
Culture Reader, a touchstone
Margaret
by
for the
Chabowski; Scott
Castle; Paul Power
DV?
Transferring old videos or

case
is
made
Belinda Baldwin
FAQ &
Info
for film as the
best preservation format.
by
by
Opinion
13
New American Cinema
of the sixties.
46
Alfred Gabriel
FAQ
Distributor
The Canadian Filmmakers'
Nigrin
Distribution Centre
is
a prime
disseminator of experimental,
gay,
14
Wired Blue Yonder
Camille Utterback and
Romy
Achituv's
video
interactive
and lesbian
from
titles
around the world.
BY LlSSA GIBBS
installation Text Rain; a virtual
buying club for independents;

Panasonic becomes artists' ally
Times Square; online sound
49
FunderFAQ
in
The
effects.
supported experimental and
Stephen Brophy;
Paul Power, Daniel
Steinhart
for over 15 years.
18
52
Festivals
Monteith McCollum's Hybrid;

Lee Boot's Making Euphoria; Liz
55
Notices
San Francisco
58
Classifieds
by
Keim
Profiles
of
the
Flintridge
Foundation has
interdisciplinary
by
mediamakers
Michelle Coe
Exploratorium.
by Patricia
Thomson;
Ann Hornaday;
Adam Eisenberg
21
@AIVF
60
Events
62
Salons
64
In
Festival Circuit
The Los Angeles

reaches out; the
Film Festival
Ann
Arbor
Film Festival gets animated.
Robert Ito;
Sarah Jane Lapp
& Out
of
Production
by
COVER: Lizzie Martinez
in
Athina Rachel
Tsangari's The Slow Business of Going.
Courtesy filmmaker
July 2001
THE INDEPENDENT
By the time you read
We
are a
picture
finished
on
film.
sound
We
full
design, foley,
fps on high
systems and
end
full
digital
24
non
audio
Alps savoring a good bottle of 1980
ADR
Barolo
or
and doing
30
linear
now running
Italian
husband and partner that
Wine
ers,
more information:
my
as part of
it
For I'm
wine tours in
every stage of your project. Please
contact us for
some crenellated
in
sitting
might very
medieval castle with a view of the Italian
for projects
offer
be
well
specializing in
and audio post
services;
and
facility
this,
Italy,
company with my
called
Tours. (You of
all
job.
offers
La Dolce Vita
people, dear read-
should appreciate the film reference.)
So check
out at www.dolcetours.com.
it
And know
that we'll give
AIVF members
a discount
Dear
readers,
But
Over the
one of the questions
years,
often been asked
make
films?"
Fortunately, no. Journalism

Besides,
love.
what
do
how
and how
is
prefer the quick turn-
around of publishing
fundraising,
is
which
are part
and parcel of
the filmmaking process.

I'm.
one of those people who can hon-
ideas,
planning
articles,
shepherding
writers,
working with
it's
all
after
makes 14 years
my
its
monthly
been endlessly stimulating
and new, even
But
magazine
this
through the myriad details of

cycle
job
140
issues. (Yep, that
at
The Independent.)
is
continually interesting
magazine
is
about. I've learned so
much both from your work and your

sonal examples.
for
have
infinite
per-
admiration
your endurance, your tenacity, your
survival instincts, your creative energy,
your discipline, and your drive. I'm proud

to
have helmed
this
magazine which rep-
resents
your interests and voices, and
there's
been no greater reward than the
positive feedback I've gotten
from you
over the years.
my
time to
move
on. This
issue as editor in chief of
THE INDEPENDENT
July
2001
The Independent and
tor to
regular basis.
able at
on
releases; I'm reach-
[email protected].
Meanwhile,
issue
to write
So keep me posted of your
work and upcoming
our
my
hope you enjoy
final
annual spotlight on experi-
number of articles
is
my
that cast
an eye
at the
greater history of this genre. Film scholars
when and where
are
now
the
American avant-garde
its
reconsidering
roots
cinema
all
the way back
at the
dawn
started, tracing
to
homegrown
of this century, as
Steve Anderson points out in his feature
Cinema. Then Michael Fox jumps
ward
to the 1960s
last
The Independent.
and beyond
as
he
for-
talks
with Steve Anker about the history of the
San Francisco Cinematheque on the

occasion of
its
40th anniversary.
And
our
cover story by Spencer Parsons profiles a

singular
Athina
filmmaker,
Rachel
Tsangari, whose feature The Slow Business
of Going indirectly incorporates a history
of cinema genres into
its
quicksilver struc-
ture.
It's
been a great run these past 14
But now
But everything has a season, and now

it's
on the groundbreaking exhibition Unseen
because of you, the film- and videomakers

this
be
mental film and video. This time we have
say they love their job. Scouting
estly
I'll
spending over half the year in America,
prolonged years of
to
won't disappear from the film
world, nor from these pages. Since
plan to continue on as a contributing edi-
witnessed
I've
hard the task of filmmaking

long the road.
I've
"Don't you want to
is,
write screenplays or
and
plus free film consultations
in a vineyard setting!
it's
years.
time to say arrivederci and
thanks for everything!

Pat
Thomson
editor in chief
(Heck, for a 40% discount on

newsreel footage, you will too!)
Right now, to
show you how
American producers a
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far
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40%
great our footage library
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So drop by on the
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My
To the
I
Kind of Town
editor,
was somewhat stunned to read the
May
the
cle in
arti-
about the Metro
issue
Angelika Film Festival ["Metro Angels:
New
New
Cable Outlet for
Indies"] because
dent television
makes
it
festival
new
indepen-
as if
a brand
it's
Thirteen/WNET
idea. In fact,
New
"about the
York experience" sound

broadcasting
York City
this
be
will
New
sixth season of Reel
its
York this summer, an independent film
and video
festival also
saying, "the
ce>
heavylightdiqital.com
digital
media zone
even quoted
Metro channel
is
pendent work, and we have

years that
who
many
felt for
but your local public
else
television station
that
going to carry this
is
it is
our
own
fault
people involved with Metro
the
Angelika Film Festival and on your
DMZ
are not familiar with our series, but
readers should realize that
wish to congratulate
public
station
television
ignoring
its
New
staff
think
York's
has not been
independent community
local
and that we have produced soon-to-be
Kate Davis
for
The Sundance Film
Prize
of genres and styles.
Garrison Botts
Festival for
Series Producer
Reel
Southern Comfort
New
Paul Power, news
and
We
at
with
Sandi Simcha Dubowski

at
winning the Documentary "Teddy"
The
Trembling Before G-d
The Independent are indeed familiar
AIVF was one
choosing us to
New
York.
establishment after the demise of
Nor have we ignored
it
since; last year in this experimental issue,
we ran an
article
on
Reel
New
York's
web
component.
What made
for
Reel
of the organizations
helped drum up support for the
series'
Festival story
and thank them
Thirteen/WNET
editor, replies:
Independent Focus.
Berlin International Film Festival for
York,
and supporters of
In fact
that
for
six
seasons of great work of a dizzying variety
winning the Documentary Grand Jury

at
as
the only
Thirteen has always championed inde-
kind of work? Perhaps
HeavyLight Digital and
is
source for something like this."
viable
New
by and about
Yorkers. Barney Oldfield
the
Metro Angelika Film

it was
newsworthy was that
linked to a live festival event, running
concurrently at Anthology Film Archives
do
their digital video to film transfers.
with the weekend airings in May. This
area
ini-
new and unique to the New York

and indeed has now been extended
tiative
is
to a regular series.
212-645-8216
212-255-8181
Letters to The Independent should be addresed to: Editor,
St.,
THE INDEPENDENT
July 2001
6th floor,
New
York,
NY 10013.
Letters
may be
304 Hudson
edited for length.
EDITED BY P
although they have primarily treated
^SHORTS GET BOOST ABROAD

German
MTV Puts
its
MTV
Heifer
in
Mouth
is
now
offering
program
as
films are
Is
Margaret Chabowski
of short film festivals,
Oberhausen,
to
its
them
fillers
more on
[for
Tsangari, see page 28]. "In Europe, short
viewed by distributors with equal
respect
by
The queen
Money Where
POWER
A U L
work
Europe, like Ursula
Tsangari
features,"
to
"Festivals
such
says.
Clermont-Ferrand and
as
Oberhausen are major events in producers' and distributors' calendars. In the

U.S., shorts seem to be treated primarily
either as calling cards or content for web
sites."
and Lutz Garmsen's
Tsangari says Cinematexas would view
Wuerfels Stern (Cube's
such a festival-cable partnership
Planet).
as a "rite
of passage, graduating from the 'amateur

kids' or 'underdogs' that short film festi-
vals are considered to
be to 'adult profes-
sionals'."
As
for the networks, Tsangari believes
that they
would have "a
from
lot to gain
the groundbreaking and innovative work

that short film festivals have to
motto of Cinematexas
is
The
offer.
'short films are
the labo-
ratories
of
Twenty shorts from
an effort to bring short

new and younger audience,
national Short Film Festival

is
film
to a
the Inter-
Oberhausen
launching a partnership with
MTV.
Since April, short films and videos from
Oberhausen's
two years
guage
festival
will
programs of the past
screen
on German-lan-
MTV. The two dozen
shorts, rang-
ing from five to 30 minutes long
and from
Ties between the festival
and
MTV date back to

In
structuring
of the past
years
be screened on
process of restructuring, of changing their

to
is
networks interested in shorts.
reach the public," says Sabine Niewalda,
According to Roger Gonin of France's
While the festival has been cooperating with European

cultural television networks like Arte and
3sat for some time (both sponsor festival
cash prizes), "we wanted to reach other
audience groups too," Niewalda explains.
Clermont-Ferrand Short Film
Oberhausen's press
"As a short film
officer.
festival,
we
consider
it
is
nothing compared to the long-feature
licensed
each of the films
it
festival.
TV
shorts
on
much
different.
tival.
"The
with
MTV
objective of our cooperation

is
to
open up new
groups for short film as well as

mercial opportunities."
target
new com-
only one play of
has acquired, with no
When it comes
but also in economic terms," says
Lars Henrik Gass, the director of the fes-
it
financial benefit accruing to the nonprof-
important to support the genre not only in

artistic
Festival, "It
industry or sports or music."
MTV has
to
programming
in the U.S., things are
not
Athina Rachel Tsangari,
founding director of the Cinematexas

International
Short
Festival,
cable
says
type of TV-festival partnership as
most beneficial to those filmmakers who

"wish only to
make
short films, and not as
Film
interest in
and
Video
it
would
them more and hopefully generate more steady funding for their
legitimize
work."
But Nicholas Mason, director of the

Manhattan Short Film Festival, expresses concern about the extra burden
placed on film festivals in brokering distribution deals like the
"God
for filmmakers.
MTV
screenings
forbid that the film
up in paperwork
and the filmmaker. I've
never known [deals like this] to work
festival
get
between
MTV
out for the

a
festival
tied
film,
and
director
it's
to
not your job
get
as
involved in
those deals."
channels such as
Bravo/IFC, Sundance, and
shown
this
a stepping-stone for features, as
welcome since it conbe difficult to get European tele-
tinues to
vision
15
considers
in a
is
our suggestions."
movie theaters long ago, we

new ways for them to
for
Tsangari
filmmakers from around the world.
to find
ry
years
now."
the
"What helped was that music

television, in Germany at least,
The opening
laborato-
German-language MTV.
program content, so they were open
wanted
will
cable deal, Niewalda notes,
"Since short films lost their traditional
has
been
two
pre-
animation to mini-feature, are the work of
outlets in
MTV
programs
senting music video clip pro-
grams.
festival
such
1998,
when Oberhausen began
and,
ironically,
Oberhausen's
In
cine-
ma'
MTV
showcasing short
have
Margaret Chabowski
is
iWu
based /uvLiikY
Yorkirntti.
films,
July 2001
THE INDEPENDENT
ON TELE
mm
,,
;*
Warning: objects aren't as real as they appear.
oaioQioiiotooii
[twii
1
\j}'- Internet
Tau PureFlat
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(No birds were hurt
in
TV / HDTV
HDTV
panasonic.com/hdtv or
the air antenna
may
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Just
Bit
Of Magic
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and Filmmakers
(AIVF)
is to

and filmmakers and
to
for
independent
video-
and
diversity
and democracy
expression of ideas
in
AIVF promotes
the communication
and
and images.

1 The
Association
is
an organization of and for independent
and independence;
filmmaking
economics
is
it
more than
just a job, that
it
an<
goes beyond
human
values.
efforts of

is
for the continuing
growth
of
filmmaking.
limit its

artistic
and
as valuable,
vital
film
is

exhibition of this
work
to the
community
at large.
was better to work with a seasoned company like First Run Features and benefit from
TLA Releasing Partners Up

with First Run Features
their years of experience in the market."
Prior to this
TLA Releasing threw its
This past May,
hat into the ever- expanding ring of inde-
pendent film
distribution.
But unlike many
other fledgling companies tackling the the-
market, this one
atrical
of
its
is
putting the bulk
DVD
energies into video and
via a
new partnership with First Run Features.

The name TLA may be familiar, especially to fans
since
of gay and lesbian cinema,
TLA Video mails
out 1.5 million gay
new
into theatrical distribution with
A Matter of
Video
Run
partnership with First
Final
video markets.
and
Tape
larger
two features
TLA
Releasing
DVD
were the
first
German comedy The
Huntgeburth and Jamie Yerkes' Spin
think they did a great job with
Bottle. "I
DVD,"
the
the
says Yerkes,
who was asked

director's
to
com-
for his DVD.

my first feature, so
riigh Quality Duplication

Sales
Demo Professional /B'Cast
mentary
Taste.
"It's
it's
just great to get
it
meant
out there.
It
Video Equipment
be able to send
lot to
Mom
DVD
20 East 49th
St,
New York, NY
for
Mother's Day."
The DVDs
Film Transfer
DV to 35mm)

(8mm, 16mm & 35mm)
by Hermine
Trio
to
(PAL
premiered on video and
The
Cut Pro Editing
AVID Editing
Features allows
to reach previously unavailable
it
& NTSC
DVD Video Authoring
sold product directly to consumers, but the
do a
TLA moves
TLA
endeavor,
PAL
Tel
2nd Floor
10017
(212) 688-5110
Fax: (212) 688-5405
are pre-
sented in anamorphic
widescreen and
16:9
http: / /www.analogdigitalinc.com
director's
scenes.
al
maker
DVD's
The
receives a per-
its
centage of the
new chapter
in
with the percentage varying depending on
history.
TLA
movie theater
taking
name from an experimental sixsame name that
ties
its
in Philadelphia,
theater group of the
had performed there. After opening a second area theater, TLA expanded its reach
by opening
eighties.
video store in the mid-
its first
Then,
adding
after
Philadelphia locations,
first
TLA
five
more
unveiled
its
Manhattan location on East 8th
On
for the
company's new
dis-
arm came from Raymond Murray,

the president and founder of TLA Video,
who had expanded the company's activitribution
ties
by
Gay
one of the
Festival,
events
organizing
Philadelphia
and
the
like
Lesbian
Film
largest festivals of
its
kind on the east coast.

Last
fall,
distributing
the decision was

its
own
"To add
at this point in
interest," says
and
its
TLA
Releasing will
with Bernard Rapp's
activities
Taste, a
for
Matter of
French drama that was nominated
Cesar awards.
five
The company
expects to release the film in 25 cities later

this
year with a nationwide platform
roll-
out in partnership with Attitude Films.
TLA plans
two to four
to release
titles
the-
over the course of the year and
atrically
is
minimum of 12 titles
exclusively for home video and
titles,
made
to begin
but expanding
whole other
comarm
sales
time was not in our best
Rich Wolff, a partner
marketing
director.
annually
DVD.
TLA
goals
"We
at
TLA
figured
it
optimistic about
is
and
will intentionally
its
distribution
keep the num-
ber of annual releases low, hoping that
modest successes
"Currently
ial;
the company's infrastructure proved

plicated.
another front,
soon commence theatrical distribution
aiming to release a
Street last year.
The impetus
gross sales income,
the individual agreement.
(Theater of the Living Arts) began as a

repertory
film-
and lesbian video catalogs annually. But

company's
922-4PAL
com-
tions,
this 20-year-old
(800)
mentary, and addition-
recent expansion marks a
CALL TOLL FREE:
feature chapter selec-
says
we
will
spur gradual growth.
are looking for
more mater-
we're always looking for good films,"

Wolf.
"International,
independent,
certainly films with a lesbian or gay bent
we're very receptive
to,
and we're open
to
anything else that's interesting."
TLA
Releasing can be contacted at
(215) 733-0608.
Scott Castle
July
2001
THE INDEPENDENT
Tape-to-Fi
Transfer
You
shoot
G^^)
MANHATTAN TRANSFERS
New super
developments continue apace in

the 8mm film world where there's been a
number of
y o
st
n y 10013
New
steady increase in the
greenwich
375
new
8 blow-ups
J
www.islandmedia.tv
film-
makers using the small gauge. To cope

with the increased
New
activity,
York-
based Cineric [www.cineric.com], which
and
specializes in film restoration
introduced a
has
vation,
optical
and super 8 blowups.
printer for regular 8
The
preser-
new
16mm
process utilizes an adapted
modified for both regular 8 and
gate,
super
blowup negatives from

itive print.
AVID off line /on line

AVR 77/uncompr essd
SOUND DESIGN, EDIT,MIX

JN
wr-Ne needing
LjJjV
me
3d
fx/animation
surround
1
Protools sound/ 5
Mix
DV
to
picture/M&E/VO/ADR'subt
m digital transfers
'
n e
q cut'..
make 16mm and 35mm
to
8,
EDITORIAL
The
a small
process
is
gauge pos-
notable for
its
use of full-immersion wet gate technolo-
gy
previously available only for larger
mask scratches and other

damaged film to
be copied in near-pristine condition. As
well as giving old film a new lease of life,
gauges
to
Footage
Brilliant Archival
imperfections, allowing
the process provides a flawless transfer for
new
The
material.
film runs through the
same computerized process
35mm
as
16mm
and, like the larger gauges,
and
step -printed
$3/foot
$2.45/foot to
Cineric
and
also
pin-registered. Rates are
16mm
to
transfer
for
is
and
35mm.
seen
has
several
home
moviemakers avail themselves of the

process, which was kick-started by the
transfer of two and a half hours of regular
8 footage from a 1940s Japanese intern-
ment camp. "Out

America, history
is
of the
closets
of
unfolding," says Balazs
Nyari, president of Cineric, of the varied
material he's seen recently.
was the gauge of choice

of Jon Sherman's
comedy
And
super 8
for a crucial part
upcoming romantic
I'm with Lucy. "We'd seen a lot of
16mm
things shot in
like scratches
that looked fake,
Extraordinary historical cinematography dating back to the 1890's
added on afterwards," notes

is
Benj Gerdes, the
film's
now from
available
post coordinator,
of other films trying to achieve the super
industrials,
8 look, "so the wet gate process con-
Call today
government
and put
film,
documentaries, and
a piece of the past into
much more.
vinced us that super 8 was a viable option."
Other small gauge developments have

included Kodak's recent introduction of
ASA, which
same price as normal
[see www.kodak.com/
negative stock (7274, 200

retails for
much
the
color reversal film
MOVING IDEAS
US/en/motion/ super8/film.shtml] and, for

aficionados of other formats, Yale Film
Laboratories
com]
still sells
sal film.
other
Call toll free:
[www.yalefilmandvideo.
regular
8mm
rolls
of rever-
Check out www.hi-beam.net/
NY
Fax:
212-721-0191
LA
Fax:
-866-4-Sekani
818-567-4235
www.sekani.com
for
listings.
Paul Power
July
2001
THE INDEPENDENT
11
The Rockefeller Foundation

Film Video Multimedia Fellowship
Awards
diversity
innovation
vision
Deann Borshay Liem

Into the Arms of Strangers
Jill
Godmilow
Jim McKay
On
the
The Rockefeller Foundation's
Way Out
14 gifted media artists
Ed Radtke
year,
2001
Winners
Animal Film
Superheroes
Kayo Hatta
Lynne Sachs
Raw
Fish
Investigation of a
Julia
Heyward
Miracles
in
Ken Kobland
in
the United States each
distinct
and innovative forms
of expression, from renewing classical traditions
Flame
Transport
to experimenting with
new technologies.
For more information, contact the

Fellowship Program at 212-274-8080
Vibeke Sorensen
Sanctuary
The Angst Archive
or
visit
www.rockmediafellows.org.
Previous winners, clockwise from top
Mary Lucier
Ghost Towns
Tran
Call
Malinda Maynor
Labors of Love:
Lumbee
Indian Art
T.
Kim-Trang
Me Sugar
Kinan Valdez
&
Anahuac Valdez
& Work
Video and
promoting diverse cultural perspectives
and encouraging
Carolee Schneemann
Reverse
Film,
Multimedia Fellowships recognize and support
Ballad of a Soldier
Trinh T. Minh-ha,
Surname
Viet
Given
right:
Name Nam
Haile Gertma, Sankofa

Bruce Yonemoto and Norman Yonemoto, Silicon Valley
alone
Preserving Our Visual History
recent
Newsweek
Losing
A Call to Arms
p*
on
again
historical data
tion
and obsolescence."
types
When
came
to the realiza-
that
tion
formats
essen-
and
tially
video
all
will
quickly
become antiquated,
since even the digital
material
magnetic
corrosive
(mini and reg-
tape
DV)
ular
on de-
or
(DVDs
best format for
CD-
and
preserving works like
In addition,
Cold War Blues
(right) for posterity.
dis-
YEAR AND A HALF AGO, AFTER TRANSand Betacam
analog video,
plays. Will there
received a note from the
technician recommending that
transfer
the work to a digital format by 2008.
paused and reflected on the note's con-
limited,
and wasn't sure
tent
should transfer the
and
if it
meant that I
Betacam
film, or the
1" copies, or all
of them, to digital.
began to ponder what format would be
and which would last

want my film and video
longer than the system on which
discs in
50 years? The answer
and remain accessible
to
future generations.
When
cialist
spoke to a preservation spe-
from the American Film Institute a
few years ago
at a
National Alliance for
audio-visual
15
formats,
which include:
video,
Betamax,
1"
Dl, D2,
posable
medium.
These
physically last a decade or
before deteriorating
if
videotapes
two
at
most
not preserved in
a perfectly climate-controlled environ-
ment.
at
my
they want to shoot
images for posterity they should shoot on

not video. Motion picture film has
film,
already withstood the test of time, having
been
The
in existence since the late
1800s.
Library of Congress preserves literary
on microfilm, which is essentially

same type of acetate or celluloid used
material
the
for filmmaking.
In the
50 years of motion picture
first
development, basically only three film
8mm
utilized:
for-
35mm, 16mm, and
Thus, the endurance of these
film.
living
the
in
although
it
and not cur-
motion picture
film remains
medium on which
to preserve
rently hyped,
the best
meantime,
the
In
21st.
a bit pricier
is
your media artwork. For more

refer
all
film-
details,
and videomakers
to Jeff
Rothenberg's
informative
American
"Ensuring the Longevity
article,
of Digital Documents" in
1995
Scientific
the January
issue.
video,
those living in the 22nd?
No
one knows
CD-Rom, DVD, Digital 8,

Mini-DV, and DigiBeta. Some of these
for certain.
have already gone the way of the 8-track
and international format enduring

enough to store and transcribe digital and
audio tape. Betamax and
CED
Videodiscs
course and
If
fail
we maintain the
to come up with a
current
nation-
al
died short, miserable deaths after only a
analog information,
few years. Will the
there won't be any contemporary film or
rest of these formats
playable, there won't be players or systems
VHS, has always been conamong professionals to be a dis-
tell
Videodisc,
8mm
tion an
oxymoron. Analog video, espe-
if
Will there be a visual history of this
yard? Probably.
cially 1/2"
that
is
thing
century as accessible and voluminous for
Media Arts and Culture conference, I

remember how he called video preserva-
sidered
students
first
3/4"
video,
VHS,
Hi-8 video,
to survive
most
we have seen
In the last three decades,
the emergence of over
the longest.
work
is
likely no.
Laserdisc, Betacam,
it
be machines and operat-
best for posterity
filmmaking classes
history of the 20th century for those of us
software
the
ing systems available to play these tapes
and
my
was
ware. In fact, the tape or disk would likely last
teach
formats has guaranteed a visible visual
but so was the hardferring a super 8 film to 1"
just a crisis for the preserva-
covered that not only

temporally
mats were
roms)
because of disintegra-
Rutgers University, the
generating videodiscs
(above)
ponders what's the
his
on
stored
is
not
is
los-
scientific
moving images but also for all

of digital and analog information.
the technician's note

I
warn we are
tion of
about
transfers,
archivists
amounts of important
and
This
Al Nigrin
and
"Librarians
Reflecting
We're
article, "History:
Arlyn Tobias Gajilan writes,
It,"
ing vast
Alfred Gabriel Nigrin
by
no national policy
of today,
as
exists for preserving electronic data. In a
follow
them
into the technological grave-
Even
if
the software
is
it
obvious
video to pass on.
is still
Albert Gabriel Nigrin

experimental media
is
an award-winning
and cinema
artist
able to read them.

lecturer at Rutgers University.
Preserving our visual history
many independent
have neglected.
workable
set
film-
We
is
an
is
also
executive director of the Rutgers Film
Co-
if
to establish a
of guidelines
focused
our moving images.
We
are
Jersey
\'i'ii
which presents the
on
Medui
New jersey
and United
maintaining, storing, retrieving, and viewing
studies
He
issue
and videomakers
need
that
Film
Arts
enter,
Film Festivals
States
Super
8mm
Digital Video Festival.
not
Ink
2001
THE INDEPENDENT
13
SD
f\/ytZ
Poetry
in
and generates digitized computer input,

which can then become part of an interactive interface between the "real world"
and "virtual reality." This allows the view-
Motion
Romy
y
moving
er to influence the behavior of the
Achituv's Text Rain
images, thereby allowing a direct 'interac-
Stephen Brophy
between the viewer and the images.
tion"
"There's no reason the video can't be in
but making
color,
true at
all.
We
manipulate
language physically with
when we talk
and our hands when we
our mouths
write or type, but
it
still
With comput-
ers we can create another

way to physically manipu-
you combine the high seriousness of
museum
the
something
where viewers watched
pixi-
letters. It's actually
down
poet-
the six-foot screen,
but the letters get jumbled up immediate-
because they are programmed to stop

they meet any sort of shadow barri-
head or
stretched hand.
a shoulder or
The
an out-
observer can juggle,
bounce or otherwise caress the letters

back into words and phrases as they pass
by, or just play in
the hail of multicolored
eal,
could
move from
the homes
Utterback, currently an adjunct profes-
NYU's
Interactive
ications Program, says that
related to
tional
of private
works
become more
museum
like
this
where
it
Achituv. Utterback set
to attract attention at
on
this increased interest [see
www.itp.nyu.edu/camille]
be
much
like this in
different
your house
will
not
than hanging a paint-
two years since we
finished Text Rain the price of the equip-
prettradi-
Western division of spirit and
flesh.
dropped.
is
The
basically just a
projector
PC
is
with a
actually the
most expensive component."

the
with
it, it
ple
piece,
have
including
Text Rain uses video tracking technolo-
She adds, "Language has always been
worlds only came into existence with the
invention of computers, but that's not
THE INDEPENDENT
July
2001
to create a synthetic environment

between the viewer and the images
viewed. A video camera records the
movements of the human participants
gy
it
for
installa-
"When we
need to
didn't
performer interact
focused on liberating the
initial-
of play-
spirit
fulness in their audience, sticking instead

to the
more common high art approach.

says, "The response was a sur-
Utterback
prise to
first
me, especially the excitement of
watching people interact with
"A
lot of interactive
interact with
it
art
on
it."
very pre-
is
what you have
you have
tain place or click
body in
virtual world. People think that virtual
piece
an
as
Utterback and Achituv had not

ly
Kentucky.
"
up
was clear that
only watched
physical metaphors, like 'Are you follow-
been collecting
it
and, she says,
it,
scribed about
In fact, several private collectors
already purchased
as part of a
performance
be choreographed, or something that peo-
phrases that are about thought but use
for a long time I've
was intended
with."
video capture card and a camera, has
from the body
tion to test
it
saw how much fun people had playing
"I'm hoping that in ten years putting
something
Text Rain,
started working
first
have also
up a company called Creative Nerve
to capitalize
student at the time,
multi-media
events like trade shows. Utterback recently set
the screen."
Utterback and Achituv, a fellow
collectors.
attractive to corporations,
which can use them
them back on
When
make
14
software she wrote
on
ment, which
think of
the
ing me?'
C++
explains of the
Kenneth Freed in Boston and Steve Wilson and Laura Lee Brown in Louisville,
But
to a place that
herself.
realm and
"We
mind and thinking and
ty disassociated
its
Telecommun-
language as a completely abstract system
the
ing," she says. "In the
letters.
at
come
prints
ry that's falling
sor
to a particular place, but
they
if
too dark, they can't go there," Utterback
crossover app-
Installation
like a
is
and get
considered
piece was most recently featured in
shower of virtual
letters are trying to fall at a cer-
Utterback has
you get
into
er
"The
video art installation Text
Poetry,
Romy
lated images of themselves playing in a
ly
responding to more primal binary
are
becoming so
cheap
that
Magnetic
the second biennial Massachusetts Cyber-
when
seeming
this form,
Achituv's
like
arts Festival,
is
and
over
code.
in each frame
so simple
Rain.
The
letters fall
"They have to search to find a

lower-numbered place they can be printed
on. So the program literally prints the letters on each frame of video and then

interactive
The
The
installation
world and the sheer fun of
which
to interact with the person, but really they
tain rate
gy behind the
a distinction
letters,
are in color."
virtual world."
technolo-
make
between the viewer and the
the elements of this
ate
If
that they are being observed," Utterback

says. "It also helps to
sym-
really only exists as a
bolic world.
black-and-white helps
it
people get over the uncomfortable feeling
to
do to
to step in a cer-
a certain button or
a particular choice," she adds. "But
this piece allows
really
you to use gestures and
open-ended ways
wrong way
really isn't a right or
with the piece.
And
there
to interact
this allows
people to
be really playful."
Stephen Brophy
is
a teacher and writer on film
and media, and
lives in
Cambridge, Mass.
Buying Club
Virtual
AS AN INDEPENDENT FILMMAKER, YOU'RE

most
^- u ^m
1
1 ^r
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^^^^
41
UNION SQUARE WEST

NEW Y0RK CITY
^^^^kw.
be operating alone or out of
likely to
SON VIDA PICTURES
Any
a small two- to three -person outfit.
can
[www.
possible production or office savings
be
network
EStudio
crucial.
estudionetwork.com] has stepped into the

breech, deep-discounting office supplies,
film stock,
and
itself
equipment
hire, flights, hotels,
whole range of
up
effectively as a
setting
services,
buying club for
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independents.
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AYID^
CyberStudio
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11
"Estudio connects and transforms hundreds of film professionals working alone
E-STUDIO
DCTV
NETWORK
Five robotic
into a
dynamic community,"

says Christie
manager of eStudio. "We're

offer the same discounts to mem-
Colliopoulos,
trying to
>
&
bers as studios offer to their filmmakers."
Many
of ESN's partners are recognizable
national brands such as Kodak, Deluxe

Labs,
and United
Airlines.
'
But the com-
*^îSf^
pany has developed grassroots contacts

not unlike AIVF's
program
both
Member
nationally
Digital
Cameras
Rentals
Discounts
Crews
and interna-
Classes
There are no hidden charges
tionally.
involved: Signing up
discounts
is
free
available
are
and the same
whether you're
Digital Editing
buying one item or 99. (ESN receives a
"rebate", or commission, from vendors.)
For co -productions, the
Sourcing
is
City Rate
Compare
Smart-
The ESN
Classes
site's
especially useful.
Sheet, an Excel docu-
ment, allows you to select two
cities
from
nine countries and compare crew rates.

For instance, $1,890
vices of a location
City, while
will
buy you the
manager
1,500 ($2,128)
in Salt
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will get
SYMPHONY
you
the same in London. Another feature of

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down
Marketplace
Special offer
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and budget break-
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on developing other discounts for its members,

including screening room and editing
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and establishing more and
EStudio
is
currently working
broader international
is
Downtown Community Television Center (DCTVI

87 Lafayette Street
New York, NY 10013

tel
(212)900-4510
fax (212) 219-0248
www.dctvny.org
diau ioj
links.
Paul Power
Paul Power
Identity two of these

one hour of FREE editing.'
a steel
managing
editor of
puaw e auoiid fteui no*
laiwsue leuji iiuM hum ioi uzzx) sriay jo
(Km
eioej mbq.
The
Independent.
July
2001
THE INDEPENDENT
15
and public organizations such
MIRACLE ON 42ND
60 Seconds of Art
in the
ST.
The 59th Minute debuted
Heart of Gotham Commerce
Daniel Steinhart
would be
it
exciting
bring
to
some potent content
into
very symbolic advertis-
this
Anne
ing space," explains
Pasternak, executive director of Creative
wanted
also
free-fall
through an
still
cameras to capture a 360 degree
man.
Although Brambilla, a commercial
filmmaker and video artist, had worked
with Creative Time before, The 59th
Minute was the first time his work has
been in the context of such a large media
encircling view of the
William Kentridge.
"We thought
suspended in a
urban panorama. The piece employed

180
really
in February
with Brambilla's Superstar, in which a
man is
by
the
as
Environmental Protection Agency.
Time.
"We
to offer artists
spectacle. "It
ties
was one of those opportuni-
that you just have to take advantage
of because
it's
an obsession
for a lot of
an opportunity to engage
people to try and figure out a way to get
with diverse audiences and
art
to invigorate
Times Square,
while creating an opportunity for the people in
Square
workers,
Times
tourists,
second
and experience that environment differently than
etc.
to pause for a
out of the galleries and make
he
accessible,"
it
more
Brambilla noted that
the economic news during Superstar's sixweek run heightened the relevance of his
work as the image of the man's descent
mirrored the announcements of a falling
stock market by Times Square's digital
ticker tapes.
The second
they might normally."
says.
slot
went
(The
to Biissi
vide artists with the oppor-
Hi8 video image of a fluffy white

cat lapping up milk by Fischli & Weiss,
two Swiss artists known for their ironic
work that often fuses humor and the com-
experiment in
monplace. Towering over Times Square,
Creative
Time pitched
The 59th Minute idea

part of
tunity
as
mission to pro-
its
to
neglected urban spaces and

to
make
more
lic.
the artistic process
accessible to the pub-
After nearly 30 years of
working within the ever-
Kitty), a
the nearly 25 -foot creature was
meant to
mon-
bring a sense of playfulness and the
umentally banal to the corporate advertising
atmosphere of the Square.
William Kentridge's Shadow Procession,
which depicts the labored migration of sil-
Urban revitalization has almost
changing landscape of
brought Times Square back to
these founding principles led the organiza-
houetted cardboard puppets,
tion to this screen four stories above the
longest run.
To coincide with a retrospec-
tive of his
artwork at
days
terms of it being a media
at least in
spectacle hospitable
enough
for
Nast's magazine headquarters
Now in an effort
Lion King.
thing back to the

advertising at
turned
into
all
Conde
and The
to give
community
it
what
is
someblares
day long, Panasonic has
jumbo screen on 42nd
its
glory
its
Street
probably the largest public
video art gallery in the world.
a.m.
except during the
Panasonic
um-quality video
Creative Time, a
it
airing
is
art pieces
live
NBC
broadcast of The Today Show and

Nightly Nevus
muse-
curated by
New York City nonprof-
public arts presenter. Entitled The 59th
Minute: Video Art on the Times Square

Astrovision, the series has so far featured
60- second
Marco
16
shorts
by renowned
Brambilla, Fischli
THE INDEPENDENT
&
28 feet high, with the
more than a
39
traffic,
artists
Weiss, and
July
2001
York
feet
City,
wide and
ability to display
billion shades of color.
Panasonic supported the idea since
it
New Museum, his

run from May
September.
The
New
will get the
York City's
one -minute short

through
21
film's
will
early
exhibition marks
time the South African
has
has used the Astrovision before to reach
the
out to the community. Terry Shorrock,
had his work shown outside the gallery

and museum setting. "Kentridge's work is
about exodus and flight," explains
Panasonic's assistant general manager o{
corporate projects, says,
On the 59 th minute of every hour from

7 a.m. to
din of Manhattan
New
"We have been
portrayed as being innovative in our use of

the
Astrovision,
Creative
donation
not
Time video
of
time
art,
to
only
with
the
Pasternak. "So
take his
work
it's
artist
really interesting to
into the heart of
Times
but also for the
Square, a place where people from
public
over the world come together from
service
announcements. Our mission, particularly

in this type of environment, has been to
give
first
back to the community of
New
York
some of what we get out of it."

Panasonic, which donated the screen
all
all dif-
ferent economic, cultural, religious,
and
ethnic backgrounds."
Through funding from the Department

of Cultural Affairs, the
New
York State
Council on the Arts, foundations, and

contributors,
time to Creative Time, also gives screen
individual
time to educational programs, non-profit,
was able to pay the
Creative
Time
artists professional
all in
which the organization has always
fees,
considered a top
Creative Time
priority.
www.allinone-usa.com-
has put together more proposals hoping to
much
continue The 59th Minute, but
one productions
of
the project's fate rests in the kind of
reception
it
receives.
The
group's
web
Uncompressed Video
Media 100
site
[www.creativetime.org] will post updates
on future 59th Minute

Pasternak encourages
nized and
unknown,
Final
and
projects,
both recog-
artists,
Commotion Pro
to contact the orga-
nization through the site
if
they are inter-
ested in submitting materials for the project.
Pasternak notes that the future of ex-
on these screens rests in

the hands of media corporations. "If other
companies that have these media venues
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Time Code Burn-in
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Ink
2001
THE INDEPENDENT
17
'But
say,
not about
Jtk
really
it's
"
that.'
Four years in the
Moriteith
a circuitous path to
that,
its
lum
McCol-
final form.
started thinking
about filming on the
farm
HYBRID
an
after taking
Patricia
in-
examine
to
their
own
Something
grandfather's pioneering
corn would
it's
only
Hybrid
nor
film,
is
documentary, nor per-
scientific
sonal essay. While
it
does present a por-
of this recalcitrant scientist-farmer,
trait
Milford Beeghly,
The beauty
it's
of country
life,
about so
much
more:
16mm. The slow pace
which allows one
to take in
munching or kittens
lapping a bowl of milk or the wind playing
in sun-dappled trees. The melancholy
the sound of cattle
tunes of a country fiddle, decaying farm
and empty
buildings,
and
corn
how
McCollum and
silos.
And
his collaborator
about
it's
which
germinates,
it
and
edi-
Ariana Gerstein, present through
tor,
wonderful stop -motion animations featuring two corncobs procreating in the dark-
ness of a shed.
have a very
"I
the film,"
McCollum
sounds cheeky:
'It's
his love for corn,
lanky
difficult
time describing
admits, "because
.'
"
man and
McCollum, a
31 -year-old,
blond
disinterested.
out with,
'It's
this
but you've got

this.'
18
And
out
breaks
and
Sometimes
laughing. "People look at you

totally
it
about an old
and
they're
I
start
man's love for his corn,
this very sexual side
that gets
them
interested.
THE INDEPENDENT
with
July 2001
to
Then
all
was so
left
all
Everything
alluring.
off. It
button
just shut off the
the buildings there.
was
always interested in that, but the family
never talked about
my
grandfather's busi-
But the buildings
ness.
like a
stood there,
just
reminder of something you didn't
McCollum went back
Iowa and
to
He
started digging into the farm's history.
wanted
to
make
about labor
a film
issues,
particularly the impact of hybrid corn
on
how
agriculture during the Depression

it
created a surplus which put
ers out of
many
farm-
work. In interviews with his
grandfather, says
to get a
more
McCollum,
"I
was trying
skeptical critique from
him
'You can't stop progress!'
"
At
it, it
just did-
that point, he
animated
the
corn
thread through the film with
the corn." There are animations of corn
germination, as well as personal recollec-
moral disapproval hybridiza-
tions of the
tion
met with during the 1930s, being
tially
ini-
considered a form of incest.
Today hybridization seems positively

wholesome compared to genetic engineering. McCollum knows his nowdeceased grandfather would counter all
reservations to this new Pandora's box
But McCollum, who
York,
McCollum had
and
studied puppet anima-
soon he was picking up paper,

wire. "I
experimented with cut-
out animation figures;
Upstate New-
Monarch butterflies,
whose stomachs explode after eating
wholesale death of
genetically-altered corn pollen.

also in the
He
sees
it
buyout of hybrid seed compa-
nies by chemical manufacturers,
who
alter
genes so that the crop can tolerate a

greater load of chemicals.
Not
surprisingly,
McCollum
thinks he
engineering.
and very
I
can
"It's
thrilling.
use,
potentially very scary
When
think of images
get very excited. But
it's
such
a massive topic." For better or worse,
it's
one that won't go away. Once genetically

altered pollens are blowing through the
environment,
as they are
now,
McCollum
observes, "You can't reverse the process."
turing certain moods."
tion, so
lives in
evidence of trouble in the
sees
might someday make a film on genetic
Once McCollum realized he was on the

wrong path with the labor angle, he
looked closer to home. At the same time,
he became intrigued by aspects of pure
filmmaking. "As I got going, I became
more interested in trying to push myself
with cinematograhic techniques and cap-
glue,
doing
this sexual
about what he created. But he always

said,
cutting
belonged."
with a hearty "You can't stop progress!"
know."
of the land, exquisitely filmed
in black-and-white
scary,
was decaying. Nothing was cleaned
and
"When we were
came together
when Ariana and I decided we should pull
in hybrid
neither biography, nor nature
spend about
sequences. "A lot of things
work
his subject.
I'd
started
he
someone
shot thousands
as a youngster.
about his
like
was
where he spent time
these old
was
it
months on each of these

things," he says, laughing. "They were
tangents I had to go off on. I was interested in trying to do everything."
In the end, none of this footage made it
n't feel like it
film
outside the box, just like
fall
did
four or five
in.
play in those buildings. They're
recalls. "It
scaffolding.
farm,
wooden machines that would

shake violently when you sort the corn,"
McCollum's
made
all
a windmill in the
of feet with the puppeteer.
to his
grandfather
that
was
had the windmill motorized,
grandfather's
kind of treacherous and
Both are avid experimenters. So
and
a field with a shed
drew him back
a farmer, Monteith
fitting
It
For
in our liv-
out of papier-mache and styrofoam;
and we had
Art
in.
that was about 25 feet long.
distance.
families.
"I'd
room
come
Iowa landscape
these seasonal changes.
at the
structed the students
McCollum and his

have one trait in common:
built this
docu-
where the teacher
Though one's an artist and the other's
mentary course
Institute in Chicago,
Thomson
ing
a marionette puppeteer
ethnographic
School of the
BY
had
||j|
Then
spent a lot of time working on them.
making, Hybrid took
v 1
it-
McCollum
were very detailed pencil drawings, so

they looked real in a strange, gritty way. I
actually
animated
whole scenes with these characters. They
For more information, contact Latent

Films, (607) 689-0376;
mcger@bingham
ton.edu.
An
Ohio gal, Patricia Thomson

grew up in com country.
"I
want
to get
want
my money from
who
consticuencies
the
all
to see people stop doing
drugs, but I'm not solving their
problem," Boot says.
he hopes to talk
Indeed,
NIDA
into letting
factors
would void the media,"
him leave
them out of the credits altogether. "Announcing my benehe says simply. So
A PAINTER-TURNED-PERFORMANCE-ARTISTturned-videomaker might seem an unlikely
foot soldier in the
war on drugs. But Lee
Boot sees no contradiction.
"Initially in
What
the hell, they've been spending
money on
this
media
keep a
this
enough
billions,
to
city of artists alive."
NIDA
far,
hasn't objected.
completely ineffective
and
billions
all
After Boot showed Making Euphoria to

a group of high school students last
fall,
University of Maryland evaluation report-
other cultures there was a correlation
Along with co-producer John Chester,
between image -making and healing," says

Boot, whose most recent piece, Making
Boot submitted a 25-page proposal to the
responses about euphoric experiences was
NIH
for a
observed. Prior to the video most viewers
Euphoria, introduces teenagers to the idea
how
peoples' brains can
good
for their
that they can get high
by
high
stay
tant,
and more imporusing
their
own
"The non-image makers have been
brains.
trying to help people with their lives for a
many
long time," he notes. "So
been trying
issues they've
of the
to deal with sci-
entifically aren't [scientific] issues."
In
Making Euphoria Boot
carries
on
video series that would "express
whole
through
the
and dendritic pruning

can
talk
Richter
about
has
he
as fluently as
Giotto
funded
growth
his
and Gerhard
latest
project
is
Small
federal
championed by the same Republican
at
Endowment
for the Arts' grants
methods, with the
artist
to
most of Boot's
building a sculp-
tural installation in his Baltimore studio
homage
(in
to the
Maryland Public
Eye
"how
is
thumb
Maryland
Institute College of
Art
or edgy music. "Respect their intelligence,
he
painter
began
recalls.
and
sculptor,
of the brain.
ies
in,"
"It's
of the conventions of documentary
is
shopping Making
currently
in
in the
meantime, he's applying
Phase
II
Boot gradually
ographical narrators; the "objective" talk-
program series. In the long run, Boot sees

Making Euphoria as ideal for DVD distrib-
each
the box I'm locked
he says with a shrug.
film
1997
interview,
ing head (Boot himself)

in
way
is
inquisitive,
mutating and hybridizing
and appropriating genre
to
do something
Boot explains.
Interspersed with Boot's running
when he
singer,
and
New
ution. "At the core

says.
com-
athlete, a
"Then around
illustration.
York City tour guide
to
for
And
can put the
that
art,"
and then
have a tangential layer that

I
he
see a layer of
then around that
off the center concept.

tric
NIH
an
grant to produce a four- or five-
see a layer of discussion,
mentary are soliloquies by an
discovered his newest funder.
but
vulnerable rather than
that's
aggressive. "I'm
else,"
talk at the
talking
meeting of the Society of Neuroscience
"The skinny
Boot
ways: Interview subjects turn into autobi-
to solve the myster-
Boot was delivering a
any audience?"
started out as a
really liked
finally led to video. In
medium, Boot sought
isn't
graphics and editing. Although Boot uses
Euphoria to network and cable channels;
performance pieces, and
to create
performance
Having
what matters, be simple and

says. "And
that what art is supposed to do, for
and be imaginative," he
the
head, the
the
narrator he mixes and matches them,
what
was the cognitive element of being an

artist,"
and
rattling off
on the sublime mechanics of

engagement. The video com-
bines a low-tech aesthetic with high-tech
many
attention
for getting kids'
true,
at the
high
taught
they have nothing to do with flash-editing
deal with
in 1982. "I realized that
He
school for 15 years and has a few rules of
creative
a graduate student
pleased but not surprised by the
endorsement.
teens'
National Institutes of Health (NIH).
mind while
Television's Independent
television
to"
shows he grew up with) while
rave
series.
Boot
Making Euphoria hews
Translated:
Making Euphoria has since played

the Maryland Film Festival and on
a soliloquy
Boot, 44, began his journey to the cen-
would damage
felt it
experiences."
through an otherwise unlikely source: the
ter of the
half
reversal in responses sug-
change the way teenagers think about
these
review.
Congress that triggered the demise of the
The
the brain.
Business Innovation Research program,
to individual artists.)
discuss neuronal
mind and about
to
awarded
shouldn't be surprising that
who can
regarded euphoria as an unnatural state of
gests that this video has a powerful ability
grant
the
(Ironically,
pilot.
consciousness, and the plasticity of brain
Boot
turned
minute
National
It
He was
lives."
feel
observed
shift in
down, but he reapplied in 1999 and

received $120,000 to produce a 22-
career-long fascination with cognition,
function.
make them
ed that "an impressive
can
I'd
love
just spins
like that
concen-
ring approach to media."
on Drug
Timothy "Speed" Levitch about what

makes them happy. The only guy in a
For more on Making Euphoria, see

www.makeU4ia.com. To find out about
Abuse, one of the National Institutes of
white coat, neuroscientist Frank George,
NIH
NIDA
at that
convention was that
[the National Institute
Health]
had
bucket-loads
because of the drug war," he
of
money
recalls.
"I
never had a major anti-drug component

to
my
thinking," he says. "But
thought,
appears almost as comic relief
mumbles
about
his
how
assent
to
Boot's
happiness works.
when he
grants,
go to the www.nih.gov grants
page and click on the SBIR
link.
theories
The words
Ann Homaday
is
the/ormer/Hm
the
"drugs" and "addiction" are never uttered.
lulvAVI
oil
Baltimore Sun.
THE INDEPENDENT
19
D
photos
address
to
child
abuse and mental
illness,
with the scientific

tions
the
in
most
which
prefer
And
museums,
the
blunt
nature of documentary and
Keim
educational formats,
thinks
out of the non-
"it's
we
narrative genre that
ways to create these
find
links
different app-
this
roach to programming comes
what
are seven words Liz
As
expected to
Keim
used to hear-
is
San Francisco
Exploratorium, Keim has been bridging
the gap between experimental cinema
and family audiences for over 18 years.
Part science museum, part art museum,
ing.
film curator for the
the Exploratorium questions
human
per-
ception through a maze of interactive
and demonstrations. In addition
exhibits
the
to
football
field- sized
screenings, programs,
museum,
what is art and what
do they meet?
itor to the
series of
it's
is
a vis-
not a question of
science, but
where
What
started as a weekend receptionist

became a full-time opportunity for
Keim when she proposed a film program
back
in 1983.
The
idea she outlined mir-
rored her interest in non-narrative non-
and the museum's
linear films
exhibits.
provided,
It
"another
way
for
as
scientific
Keim put
of
visitors
it,
the
Exploratorium to think about the world
around them
in
much more
visual
This relationship of cinema to scientific
inquiry defines the difference in pro-
gramming
at the Exploratorium. It also
presents a unique challenge to

curator.
"We
theater'
and
come on
Keim
as
don't just say 'go into the

all
of a sudden a video will
that explains
some process of
physics," she says. For the Exploratorium's
exhibit
on memory, Keim paired
mental films
Becomings,
20
the
visitors
to
atorium
are
Explor-
not
usually
specifically
the
for
Often they are
tourists
like
experi-
Daniel Reeves' Obsessive
which uses morphed family
THE INDEPENDENT
July 2001
a typi-
hundred birthday parties. The machine

shop, where the artists and carpenters put
new
together the
view along with
installations,
refers to
it
as
in full
is
and
saws, wires,
its
ply-
an "irreverent
experience" for the visiting filmmakers.
have to warn them of what they are
"I
get-
The environment, combined
audience, can be a potentially vulnerable

situation for the artists.
ence
"A diverse audi-
going to react in multiple ways,
is
and how you interpret those reactions can

and somewhat painful. But
get difficult
on
a cold
and foggy afternoon. There are
there are things that are going to
not
many
other places where you will find
here that won't happen at other places,"
and grandchildren from
grandparents
To
"Our audiences are not going

Cinematheque or Museum of
of his Transducer Series at the Explor-
Modern Art
But
to seek out these films.
they will wander into our theater and get
work they
to see
For media
typically
artists,
can be a resource
made
the
would not
for those
Wendy
see."
the Exploratorium
jump from
installation.
single
Her
fishing
of a river
boat's
images of water
line,
accompanied by grinding and sloshing

provoked challenges from the
sounds,
audience.
asked simple but awkward questions, such
Clarke's interactive
"Why
as,
Two
adolescents in particular
did you
make
A few days later,
this?"
he presented
his
work
exhi-
within the friendly confines of the Pacific
installation invited visitors to
Film Archives. Keim hid in the back,
how AIDS had
stories
is
thinking to herself that he would probably
want
affected their lives.
Challenging form and format
some-
to forget his previous screening.
experience
endless exhibits, the Exploratorium
for
is
natural environment for this crossover.
As
she points out, "We're lucky that we've
staff to
make
To
her surprise, he spoke at length about his
Keim wants to do more frequently,

and considering the vast space and its
thing
and the
tranquil close-ups
hull,
screen to
both watch and leave videotaped

of
atorium. These films, which incorporated
who have
What About AIDS?
Exploratorium's
bition.
Keim
experience,
this
recounts Richard Lerman's presentation
film.
points out,
the
illustrate
As Keim
ence of a Stan Brakhage

to
happen
she adds.
Tennessee and Tokyo sharing the experi-
got the machine shop, the equipment,
frame."
On
crowds.
ting into."
video Remembrance was featured in the
job
its
weekend, the sound of screaming children echoes through the museum like a
cal
with the wild card of an unpredictable
or out of town guests spending time inside
and lectures related

and video. For
to experimental film
the
gallery,
Exploratorium hosts an ongoing
the often jarring nature of the
Exploratorium and
a festival or arthouse crowd,
films.
see,"
trade-off for this different perspec-
is
a different audience. Unlike
coming
"That's not
The
tive
wood. Keim
and bridges."
With
they are trying to say with their work.
installa-
gallery.
unlike
ested in the artists personally and what
"
the Exploratorium.
at
"As an
recalls,
artist
She
he had been working
long that he forgot what had
so
sparked his
initial interest.
The
questions
he was asked there made him think about

his
motives and curiosities that
early
pushed him to pursue experimental cine-
that happen."
In addition to this technical help, the
ma. For him,
was a valuable learning
it
And
Exploratorium can offer insights and chal-
experience."
would not encounter elsewhere. Much of this input comes from

presenting new work in front of an audi-
learning
process.
ence
www.exploratorium.edu; or contact lizk@
lenges artists
as diverse
as
the Exploratorium's.
Unlike the typical questions of film

vals
"how much did
number
filter
festi-
that cost?" or "what
did you
use?"
Explor-
atorium audiences are often more inter-
For
is
at the Exploratorium,
always a part of the
further
artistic
information,
see
exploratorium.edu
Adam
Eisenberg
filmmaker
is
a freelance writer and
living in Brooklyn,
New
York.
Qii
j
,
CIUCTJIT
s y_i
market the
efforts this year to
the general public, employing
LAFF TRACK
ners,
The Los Ange/es Film
Festival charts
a course
and direct mailers
billboards,
Robert Ito
by
much better
how a film
indicator for the filmmakers of

will
Attend the Los Angeles Film Festival
hosting a film festival in the heart of
and you never quite forget that you're
Hollywood. "Filmmakers can come to
Los Angeles.
which
this year
The nine-day
event,
took place during the
last
week of April, is held at the DGA offices

on Sunset Boulevard and Fairfax, mere
blocks from the Paramount and CBS stu-
Down
dios.
the road
is
the
WGA build-
meeting
office instead of
says
my
at a Starbucks,"
Arianna Bocco, vice president of
acquisitions
New
at
Line/Fine
Line
Features. But, she adds, "At other festivals,
we're out of town and forced by necessity

to
hang out and network. At the LAFF,
be received."
By
LAFF had
measures, the
all
Attendance jumped
year ever.
30,000, up from 27,000
DGA
over
last year. Wait-list
to nine days
world
21
jumped
programming exsix and includ-
Festival
lobby.
panded
ed
best
its
to
often stretched the length of the
lines
from
Submissions
premieres.
to over 2,000
from 1,700
last year.
By press time, at least two entries

had been picked up: Jesse Peretz's
The Chateau, bought by IFC Films;
and Marina Zenovich's documen-
Real-life ex-con Clint Jordan (left) stars as a career criminal in Joe
Maggio's debut feature
we
specifically targeted a general audience
because they're usually a
well,
will
always come," says Raddon. "This year,
toward wider audiences.
in,
to
"The industry
attendance.
boost
festival to
more ban-
Virgil Bliss.
Who
Kaaterskill Falls, a film by Josh Apter and Peter Olsen, grabbed LAFF'
tary
Critics Prize.
by the Sundance Channel. Several
is
Bernard Tapie?, bought
were getting second screen-
films
ings at studios
around town
for pos-
According to
Raddon, 2001 has been their most
purchase.
sible
competitive year in terms of quality

of submissions.
It
was
also the festival's
To mangle
year.
ital
Sunset Boulevard, the

big,
it's
most
line
LAFF
dig-
from
event
is
just the pictures that got
smaller. Instead of glossy, dramatic
features getting
low-budget
bed a
tion.
lion's
DV
all
the buzz, ultra-
productions grab-
share of audience atten-
According to Raddon, a flood
of quality
LAFF
digital
entries
forced
organizers to add an entire
host of seminars, presentations, and
"filmmaker dialogues" dealing

all
play digital
will
"We didn't set out

films, we just wanted
things DV.
to
to
play the best films out there," says
Raddon. "But when we saw how

ing,
where
this
year labor strike negotia-
tions cast a palpable pall over the entire
town.
Mammoth
The
upcoming summer
billboards
Strip pitch the latest
along
releases, while inside the festival itself
despite the cajoling
event organizers
cell
and near-begging of
the
annoying bray of
phones can be heard
at just
about
every screening.
And
while filmmakers get easy access
to the industry, there's a downside, too, to
lot of us just
office to
An
work
end up going back to the

after screenings."
this
increased wariness in Hollywood
about independent films and the concurrent economic anxiety has also
had
impact on the LAFF, according to
festival
director Richard
try's eyes, it
ago than
As
used to be
it is
now," he
a result,
its
Raddon. "In the indus-
much
an independent filmmaker
the
cooler to be
five or six years
says.
LAFF made
many
year (a third of the programming was
either digitally created or projected),
knew we had
ital
we
to talk about the state of dig-
filmmaking right now."
And
talk they did.
At various seminars
and post-screening Q&As, many of the

conversations echoed the "how low can
you go" braggadocio of the El Mariachi and
Blair
greater
of the films were going to be digital
Witch years, with filmmakers boasting
of the
low budgets and hi^h shooting
July
2001
THE INDEPENDENT
21
^^xn^k
QE
with
ratios possible
PRODUCTION
POST PRODUCTION
DUPLICATION
Dogme
ductions.
DV
pro-
director
drew gasps
Kristian Levring
and laughter from the audi-
when
ence
shooting
he
admitted
170 hours,
est digital project.

& one
15min. -$800
30 min. -$1200
60 min.
90 min.
$1 750
cameras run
on end
disc
off the
had
Media 100
"I
seductive stranger. But the strong cast
seemed,
it
didn't
want
just
to turn
cameras between takes because we
sound
little
them
hours
for
sometimes,
because they could.
$2000
lat-
DV
described letting
directors
their
with
on his
Other
multiple cameras,
so
issues,
rolling," says
we
just kept
The Chateau director
Jesse Peretz (First Love, Last Rites).
Editing
The
Production Packages
Video Duplication
digital
DV-to-35mm
transfer
although some audience

members were less congenial than others.
At the eye -popping "Digital Extravaganza" event, which offered side-by-side
presentation),
comparisons of feature film
20 VHS Tapes
traditional
w/sleeves & labels

Independents
Only
35mm
both
clips in
DLP
and Digimax
for-
fair,
when
the
color saturation were pointed out.
When the
projectors
in
theaters
attendee questioned just
pay
for
24 hr building
AVID 1000/AVR77
this
digital
one
year,
who was going to
them. Others wondered aloud
about the relevance of
mid-town
all this
new
tech-
stars
lively
the
of the festival, appropriately
Critics
year's
22
THE INDEPENDENT
Prize
went
to
(is
there any other
high stan-
unrealistically
dards and a hilariously unappealing roster

of dating prospects keep her from finding
who might
director
man if
And
be that
just
she weren't, of course, a woman.

therein
the core of this sweet, insight-
lies
comedy.
from a successful outing
Fresh
Slamdance,
with
wowed
Virgil Bliss
its gritty
at
audiences
look at a former convict's
attempts to go straight after a 12-year-
New
stint in a
York state prison. Lead
an ex-con himself,
actor Clint Jordan,
who
mistakes his
first
sexual encounter, a ten-dollar "date" with

a drug-addicted prostitute, for true love.
Dark humor rarely gets any darker than

Anthony Gorman, playing Jordan's
this.
unredeemable halfway house roomie,

hilarious
layered
and
is
at
portrayal
menacing,
fiercely
of a
down-and-out
addict struggling to win custody of her
deterioration of a couple's relationship
child never lapses into sentimentality. Joe
trip
in the Catskills
on Allegra Goodman's novel of

the same name) The film set the standard
for the "less is more" feel of the festival,
(not based
July 2001
whose
kind?)
haunting look at the
during a weekend
copy editor
fectionist
while Kirsten Russell's haunting, multi-
with
V,
star turn as Jessica Stein, a neurotic, per-
are a few of the standouts:
1-800-324-AVID
330 W 42nd St NYC
Westfeldt captivated audiences with her
turns
Kaaterskill Falls, a
Edit
freshest
enough, were the films themselves. Here
This
DIVA
one of the
films in the festival. Jennifer
a career criminal
true
our goal is to help

other independents
and funniest
While the digital seminars sparked

debates and appreciative audiences
As long-time
AIUF members
Writing and Acting was
for
delivers a standout performance as Virgil,
makers Allison Anders and Kristian

Levring was especially well received
the
Easier for editing
for
nology to cash-strapped indie filmmakers.
rollicking "master class" featuring film-
Newly reconfigured
Award
Kissing Jessica Stein,
ful
seminar's host told the audi-
ence that there would be 100 new
in
Grabbing both the Audience Award
Best Feature Film and a special Critics
the "perfect man." Heather Juergensen
To be
subtle differences such as graininess or
large rooms
with a view
thriller.
plays a smart, utterly appealing art gallery
versions.
digital
attendees admitted they couldn't distin-
AVID at DIVA
line
an edgy, unforgettable
many
the
to create
mats, one film purist blasted the look of
guish between the two, even
combined
Jury
seminars drew huge crowds
(including AIVF's
performances and a compelling story
its
13-day shoot, two-person crew
Maggio has
winner with
this passionate
work, which marks his debut as a feature

film director
and was one of the
festival's
best examples of the artistic potential of
low-budget
DV productions.
(Josh Apter and Peter Olsen served as

directors, writers, producers, and editors),
memories of the best
and ultra-low budget. The story
employing a powerful narrative and a
familiar:
itself
Contented yuppie couple
is
was
torn
apart by the appearance of a mysterious,
Ever Since
minimum
chilling
the
World Ended
Twilight
evoked
Zone
tales,
of special effects to create a

vision
of the
not-so-distant
The
future.
story
set 12 years after a
is
plague has destroyed almost

world's population.
It
a handful of survivors in
who have managed
of the
all
follows the lives of
allowing the story to unfold through
"interviews" with the survivors, most of
them non-actor
who were
pals
the doctor in the opening sequences
who
about
the
dispassionately
so
spread of the disease
actually an emer-
is
gency medicine M.D.
a strategic
America So Beautiful also scored well

its
story of
an
Iranian immigrant's experiences during

the height of the Iran hostage
Disco
ties
Set
crisis.
Angeles in 1979, the film uses
in Los
news footage and seven-
classics to capture the schizo-
mood
phrenic
Another
Entries
Film Festival
Young tHip Makers:

Now
October 11-20
July 15, 2001
ShortsFeaturesDocumentaries
If
Starz Encore People's Choice Award

For Best Feature-length Fiction & Documentary
John Cassavetes Award

Krzysztof KieslowskiAward
For Best European Film
cJiance
J*
8e CAosen
a
t"
Win
Trip
Angeles'
t heafer.'
Siw your
~ic
Mee( OfJier Young filipakers?
it
Juipp Start your filip Career/

18
filjp in a
under and cipple<ed
original fibp or video after july
you are
eligible to en<er
it
into
IS,
000
<Jie
2001
BACKYARD
national children's film festival
TW
is
NO H*Ri fSS bat

%ZU So hmy
<Jie
deadline is JUI.Y
call: (8ft)
KlV-tUM for infonpadon
or yist visii our wksi<e online
Inquiries to:
Denver Film Society

1430 Larimer Sq.
Suite 320
Denver, Co 80202 U.S.A
dfs
to:
a SdiolarsJiip!
t l.os
~k
you are age
an
BIG
Achieve National Recognition.'
^ Win
SUBMISSION DEADLINE:
35mm16mmvideo
is your
a<:
wwv.djildrejisfihpfeôrcj
Sjff
rimon youth foundation
@ denverfilm.org
www.denverfilm.org
of the times.
festival
International
For Achievement in Independent Filmmaking
believability of the film.
grainy archival
For
move
and the
that boosted both the richness
with festival-goers with
Star z Encore
cast to
play versions of themselves. For example,
speaks
24"'
Denver
San Francisco
to cobble together
some semblance of a working society.

Directors Calum Grant and Joshua Atesh
Litle shot the film in a flat, documentary
style,
Call
standout was Cookers,
movie about two crystal

meth dealers holed up in an abandoned
farmhouse with a huge stash of stolen
a frenetic horror
amphetamines. At
first,
the protagonists
brought on
own product
twitchy, paranoid behavior
by lack of sleep and their tendency to dip
deep into their
too
is
played largely for laughs. But the para-
noia
ultimately contagious, as the view-
is
er starts to question
shadowy
figures
whether
and bumps
all
those
in the night
are real or just drug-fueled hallucinations.
The LAFF remains one of the top

regional showcases for independent film,
and attendees were upbeat about the

future of the art form as well as the festival. According to Three Seasons director
Tony Bui, "the climate has changed. Big
actors are willing to invest time
gy
independent
into
agrees.
"I
films."
and ener-
Raddon
constantly hear people
talk
how American independent cinema sucks and how any festival dedicated
about
just
to
pendent
showing North American indehe

anybody who actually came
films couldn't be that great,"
says. "I defy
to the festival this year to say that.
They'd
be wrong."
Robert
Ito
is
a freelance writer and editor

at
Los Angeles Magazine.
July
2001
THE INDEPENDENT
23
^^
cy^,| |r|Tl|Vr| g|
What
intensify?
does the
Ann Arbor
What
Festival render obsolete?
Rites of Spring
Ann
Arbor Film
Film
does the
from
Festival retrieve
What does the Ann Arbor Film

Festival produce when pushed to an
extreme? McLuhan also said there's no
obscurity?
The annual migration of experimental filmmakers

to the Ann Arbor Film Festival
such thing
Sarah Jane Lapp
by
bad
(or
bad film
as a
five days,
to myself,
MFA
Av-vte
from
ranging
loyalists
repeated this piece of optimism
and
worked
it
candidates like Sara

Ah! So then what
makes a good viewing
Ben-Dov
to spectator
whom
of
shared
like to
bed
in
be
fed.
exquisite prix-fixe
the
airport
our
respective
to
(Mem-
Ann
Arbor commuvolunteered to
house
that the cutlery
filmmaker's festival!" What exactly
is
is
Oscars, that
the water glass spotless.
a film-
In
my
nursery school, everyone received
year, and mine

"The We -AlwaysKnow-Exactly -What- She 's-ThinkingJust-By-Looking-At-Her-Face Award." To
some degree, a filmmaker's festival provides a haven similar to early education
an award
was
end of the
at the
especially dubious:
environs
artists are
ing their hearts
on
recognized for wear-
their sleeves. Perhaps
me
United
States.
39 editions.
Gunning, who
albeit
And
Gerry
ka,
"filmmaker's
festival"
pre-
sented a
PXL
demo
question
four-part
is
San
to
any
Burn?
No, but low sound, dim bulb, and
a lens
focused on the subtitles rather than on

the image.
which
human
dissecting an experience about as objective as a family reunion.
applied to the festival,
What
2001
Tom
find these questions useful in
you're likely to
July
film dur-
was downhill from
para-
tetrad
production of more ideas. At
THE INDEPENDENT
It
McLuhan's
filmmakers
24
and the projectionist started the

ing intermission.
musings on
Ann Arbor
meet experimental film
Arbor, our film played on opening night,
Marshall
invention.
the exchange of ideas that inspire
at a
Ann
it
sup-
porter,
freely applied
was
me. At
long-time
festival
McLuhan
site for
and
for the blind. It spoiled
digm
perhaps identical to any
death. Shortly before
experienced a sensational
he's a radio engineer,
would be an all-expenses-paid expedition

that guarantees tremendous accolades.
But more often I feel that a festival for
other convention of like-minded souls
that sound
me good pro-
Arborean and
his
entertain the narcissistic
know
Fial-
the formal expression of vulnerability.
an ex-Ann
con-
is
lives in
cousin of film scholar
the
with
sure
Gunning.
in
that
Arbor
Make
day.
there.
junction
Sometimes
me an
the place to see the best films in the
more than any other festival, the Ann

Arbor Film Festival strives to provide a
week-long public forum that celebrates
fantasy
Arbor,
venue
Francisco, has attended 22 of the festival's
maker's festival?
Ann
like
really
over a cumber-
checks are luxuries, but give
to forget the
Ann
And
sharp, the plate clean,
projection of our film
Amazing.) Gun-
"This
is
visiting
filmmakers
me
menu
some smorgasbord any
jection or give
actually
nity
have
meticulous programming; give
like
lodgings.
that
to sleep that night.
car
from
bers of the
know
like to
which
time to go to the bathroom.
my
shuttle
ning told
experi-
ence?
Dan Gunning,
At the closing of this year's festival, executive
any
as well as
yogic mantra.
Takahashi to curator Ariella
Honeyman declared,
there's only a
watching some 130 films in the space of
all
director Vicki
good) viewing experience. While
does the
Ann
The
are
questions, as
as
Arbor Film
So would you say the Ann Arbor Film Festival

not a filmmakers'
festival
is
because filmmakers
only want a good projection and you didn't get

that?
follows:
No,
Festival
see
wouldn't say that.
my own film. I came
didn't
come
to see the
to
work of
Q
my peers and predecessors.
16mm film camaraderie.
wanted
j-jf-j S-^JJ^
ty of the film itself.
me
^^
Did Hybrid
".''-
Jji
stay with
because of the exquisitely poignant
images and soundscapes that Monteith

Did you meet your comrades?
Not
initially;
was
And
shy.
had
or
the drawing
McCollum
crafted of his grandfather
because
am
this
fantasy of an obvious
huddle of filmmakers
in
some backroom
eat'
ing bad nuts together.
Honeyman
gathers the
filmmakers
together
and sangria
pizza
for
on the fourth night of

the festival; I would
have preferred a
film-
makers' socializing event
much
earlier.
So who did you hang out

with?
Initially
women
hid out with
near the bath-
room
corridor,
whom
community members
mean hot tuna
imagine make a
made
feline while
dish.
partial to
of his grandfather schlepping a dead
howling a song about drown-
ing kittens in the well? [See profile, page

Isn't that classist?
18.]
No,
compliment. These
women
ing the festival auction,
on
their eyes
Back
Crofter's
were discuss-
and they had
a certain yellow birdhouse.
identify
to
imagine you
your forty-some col-
leagues by the infamous Polaroids posted on

the "Filmmakers' Kiosk"
or at least during
Q & A sessions?
What Q
of
my
Red Coat, Sonnenland, and some
other favorite films. Conversely,
then perhaps
can't render the film,
bevy of filmmakers.
to the
were able
the
have the same questions about
grew up in Minnesota. That's a
remember
it.
Where
kinesthetic films?
if
can't
does that leave more
And what
own squeamishness? XXYY

intersex
humans, but
three minutes because
about
my
explored
had to leave after

I have bizarrely
19th century hysteric relations to the
& A? Only the jurors were allot-
ted time for post- screening discussion.
human
body. That's not the filmmaker's
fault.
Why?
imagine. At
Time,
demo
of some kind, at 3 p.m. a jurors'
1 1
p.m., there
was a
and then there were back-to-
screening,
back screenings
and
for the public at 7, 9:30,
Tickets on sale
June 16th
p.m.
What about programming fewer
films to allow
time for discussion?
Personally
think open discourse
www.outfest.org
is
imperative. Otherwise, one feels like a

festival
fair,
just
is
about consumption. To be
I'm told that formal discussion was
held at 10 a.m. on two days.
wasn't
awake.
Now
you are, so
Well,
now
Besides,
mnemonic
let's talk
about the work.
the filmmakers aren't here.
am
suspicious of the faulty
relationship
see
between
my
drawings of a film and the actual integriFestival director Vicki
Honeyman
July
2001
THE INDEPENDENT
25
III
AMERICAN MONTAGE
III
fc
i-
INC
y*
Cleave, by Hollie Lavenstein, an
T-1
/Analog
Digital
AND FINAL CUT PRO SUITES
Then maybe the awards might

end
At the
AFTER EFFECTS
MOTION GRAPHICS
EXPERIENCED
IN
FEATURE LENGTH

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& Web Production
Film, Video
AVID
autopsy of a deceased marriage.
4-8283
jar your
week the
of the
memory.
jury gives out
$15,000 worth of cash awards and services.

Yes, for banal
ing,
triumphs
and nice camera
like hilarity, edit-
as well as festival-,
donor-, and community- specific awards,

like
Best Michigan Filmmaker or
Hot
n' Spicy.
How
does
Most
Yes, selected
Ann
works from the
Arbor
Film Festival tour educational institutions

in
the
spring
and
summer.
That's a
of
work
lot
for
one
enter this festival?
These days one

sends
BRAVO
preview
In
40 WEST 27TH STREET

2ND FLOOR
NEW YORK NY IOOOI
www.bravofilm.com
VHS
tape.
previous
years,
pre-
screeners
only
viewed
16mm
submissions.
But you must
Sound Stage Rentals
x 28' x 14'; 600 amps;

34'
screen
16mm
at
the festival and,
believe,
on the
festival
tour.
Tour?
Roll;
BetaSP, %",
S-VHS;
and Vicki Honeyman cuts hair on the
side.
In fact, the festival office exists in the
back of her barbershop.
DVCam,
one organizer!
Yes,
In
ABC
TL-f'5
riAi
the festival catalogue,
"test"
in
this year's festival.
addition to the
Production Packages
We
16mm
first-time clients.
With
bar, with
Pierce

26
212 679 9779
Fax: 212 532 0444
THE INDEPENDENT
July 2001
Hammer
the exception of
digitalia,
filmmakers' jam,
I
and
attended none of
the distraction of choice. Put

plate for me.
feature, etc.
new Leighton
these screening-room events.
my
Tel:
in
works from the Video Data Bank, PXL
animation demo,
for Video/Film;
more
Therefore,
"mainstage." there was a simultaneous side-
This Festival, a Barbara
ADR; Music
writes
films projected on the

and music videos from start to
finish with substantial discounts for
Audio Services
Honeyman
that the board "encouraged" her to put
resented
my food on
p..,'
t>.
ÎS
II c
KTIUNG YOU?
RADICAL AVID for
Come
the
to
GAM&fiUVID
1133
Broadway
at 26th Street
(212) 633-7497
16mm
So, of the
programming, what did you
actually see?
I
watched
watch) every
(or started to
gle film that
was projected
in the
Media Composer 10.0
sin-
main
Spacious 24
auditorium.
Hour
Fulltime
Editing Suites
Support On Site
Anything memorable?
You know,
tion.
forest?
single
Why
one
from the
tree
frame of film
walked out of
access to
saw
even
it.
emotionally,
if
really appreciated
and
even have awards to
always thought
offer:
Best use of
Best use of dead cats. Best use of
tables. Best use of chairs.
Best use of dogs.
i 1%<<*
Most closely-miked introspective male voiceover. Most mammillae

per frame. Most scratches per frame.
Most racist ethnography disguised as
Best genitalia.
experimental
sing-a-long
film.
Best reason to hold a
that's
not at your family's
homage
Gaston
Bachelard. Best hand-processed remake
of Andrei Rublyov. Best aluminum foil.
seder
Room.
eventu-
you were more cynical.
live cats.
or Let Us Install
in Your Edit
of those voices.
all
Awfully generous of you
Suites,
learned something from every
technically, spiritually
ally
Work In One of Our
have trouble with that ques-
single out
table.
Best
to
'
"From
Rawstock's
needed."

Brett
Thompson, Screenwriter! Director.
^*a*i*J
The #1 choice
D.
WOOD JR.
Final Cut Pro
&
Web
Classes
Best use of haunting choral music. Best

credits.
Would you return
to the festival?
Would you watch Shoah
again?
Not immediately. But that doesn't
Shoah
is
mean
that
not a tremendous, important experi-
ence.
Filmstock
& Videotape
Camera Rentals
& Tech Services
Final
Cut Pro
(DR RAWSTOCKJ
.
Exactly.
Call us
Sarah Jane Lapp
Ann Arbor
is
a filmmaker and
invitees interested in
procurmg draw-
@ 800.323.4647
www.DRRAWSTOCK.com
illustrator.
The place
for
your movie.
6150 Santa Monica
Blvd.
Hollywood
CA 90038
ings of their films should contact her at
cinemagoatQoyahoo.com.
July
200
THE INDEPENDENT
27
PU
U
<
Q
V
CO
map with Athina Rachel
All over the
Tsangari
and The Slow Business of Going
Spencer Parsons
When
singular
I'd
told director Athina Rachel Tsangari that her
new
feature
The Slow Business of Going was the
first
film
ever seen to really get across the lived experience of the
Internet, she
was surprised and pleased. But when
the wonderful irony of doing this in a film with
of a computer, she asked
pointed out
maybe three
me which shots I was talking

my movie," she insisted.
shots
about.
the future (or even the present). But "this

for "fish
lution."
to try to
"We
is
natural," he added,
do not care to think about water, or men about air polThe Slow Business of Going is one film audacious enough
make
us feel the water or smell the air pollution.
started the film in the year of the centennial of cinema,"
says Tsangari, "so
we thought
it
was an appropriate time to pay
"There aren't any computers in
homage
Oh, but there are. They're just not on-screen and nobody ever
mentions them a welcome relief after years of watching narrative cinema flail about for adequate responses to cyber this, ethat, and the virtual other. Most films, both good and bad, have
treated the Internet as a plot expedient and computers as little
more than contemporary set dressing. We've seen e-publishing
news anymore. We kind of missed the

deadline." Instead of vying for the last word on cinema in the old
century, however, Tsangari and her ardent team of collabora-
Henry
century," according to Thessaloniki Film Festival judge Fotos
email revive the epistolary romance in You've Got Mail, and
Lambrinos. By investigating the forms and history of cinema in
offer fairytale swiftness for the dissemination of poetry in

Fool,
video games and virtual worlds
make kung-fu
Keanu
safe for
Reeves fans everywhere in The Matrix.

This
calls to
tion to "19th century hardware
28
THE INDEPENDENT
July
felt
typically aphoristic
paid too
much
and Newtonian imagery"
2001
100th birthday
tors
head
actress
just finished, the
isn't really
editor/co-writer/co-producer Matt Johnson,
Lizzie
Strickland,
But now that we've
and
Martinez,
DP Deb
the 20th century, they
co-writer/assistant
Lewis
made the
managed
director
"first
lead
Kenny-
film of the 21st
to shape a story not simply
about, but of the 21st century.
mind Marshall McLuhan's
response to Kubrick's 2001, which he
to the holy beast.
atten-
to be of
The Slow Business of Going concerns the futuristic misadvenone Petra Going (Martinez): half Greek, half Mexican,
and born on an airplane, her name can be loosely translated as
tures of
Not
"rolling stone."
much
from one
on and off
experiences to be down-
so
jetting
place to another as simply switching

to them, she collects
loaded directly from her brain into a sensory
Wearying of
Project.
relentlessly
camera, she
as
life
Nomad
Global
database for the enigmatic
hopscotches the globe with a rock-
ing chair strapped to her back (in tribute to
Samuel Beckett's novel Murphy), moving from

city to city, hotel to hotel, and genre to
genre
Thriller
Prague,
Manhattan, Musical
in
Slapstick
Tunes
in Tokyo.
Though
Texas,
Cuba,
Mexico,
shot on location in
New
Morocco, Barcelona,
in
Loony
Thessaloniki,
in
Greece,
Russia,
York, Dublin, and
this is no travelogue; like any career

nomad, our protagonist sees little more than
the inside of one room after another. So there
may be a boy in every port, but little or no
funny
romance, and
of a
Vietnam,
Petra's closest friend (represent-
ed by images of Maria Tsantsanoglou and the

voice of
Micah Magee)
exists
more
in
memory
and fragmentary correspondence than

son.
ing,
It's
a story of geography as
human
surf-
this
"The idea was
to ask
in a hotel
room
some other
friends, like
rative," Tsangari explains. "It started as a jour-
Tsangari. "I
knew
ney
[The
film] didn't originate as a
a journey through cinematic and spatial
geographies.
knew
wanted
to talk
least
cities,
two
being stuck
and what
identities,
about at the time, which was the
language of cinema.
by making
wanted
to learn
cinema
it."
The daughter
of diplomats, Tsangari spent
her early years on the move, so

that the idea for
arose
about what
best: travelling, dislocation,
between two
knew
it's
appropriate
road
trip
from her base in Austin, Texas, to Mexico.
"Matt [Johnson] and
were talking about how
and Johnson took the concept that emerged
each of these guys [Steve Moore, Mike Martin, and
man and
we had worked
them
together, with
that didn't involve sex or violence. Pretty soon
we asked
Gary Price and Kenny Strickland,
too," says
that Lizzie (Martinez) would play the
since
on my
so well together
me and
to get into
woman in all
short film
We
Fit.
it,
of the pieces,
would workshop
male
Lizzie gently sabotaging all these
scene would reduce into a kind of genre shorthand that would
Each
fantasies.
last
about two or
them a 30-minute
composed of little genre haikus."
Ten 400' rolls of 16mm into shooting the first of these haikus, it occurred to
them that they were dealing with something bigger, and that the film would need
more than a theme-and-variations. They began to suspect they had passed directthree minutes, with Lizzie as the only connection between
short
ly
from haiku to
epic.
"We thought about
The Slow Business of Going
during another journey
space
conversation to their collaborators from other recent projects.
master nar-
"
this tiny
fantasies that occur in small, transient
Daniel Aukin] to write what they imagine happening between a
woman
interaction as hypertext.
and we started discussing the
spaces, like hotel rooms." Tsangari
from
in per-
channel
was that to go a long distance we had enclosed ourselves in
it
car,
cally
it
and
realized that
an epic made up of little episodes
TV, right?" suggests Tsangari. "One of the
first
saw when
is
basi-
came to
was blown away to find
things
America was Sesame Street. And my jaw just dropped. I

this kids' show that used TV's fragmentation as this radical mode for entertainment and political discourse. So we followed that example and added a little
Howard Hawks. You know, irrational combinations of tone and sudden, absurd
disruptions of mood. So it's a 'TV movie,' " she laughs.
So Petra thwarts an assassination in Manhattan, fights heat-induced lassitude
in Tangiers, tangos to Tom Waits and Tin Hat Trio in Thessaloniki. She considers
the history of compact cars in Eastern and Western Europe and modestly proposes her own hybrid (shown in animation) which you can drive, sail, or carry, sleep
,
in,
eat in, or mail in an envelope.
she's
And
she eagerly awaits the
swimming
promised to her friend Micah, should they ever meet up
Meanwhile,
at the Global
fect salad, appreciate the
Nomad HQ,
other agents chase the
lesson
Havana.
in
memory
of a per-
semantic significance of "punk not dead," and advise
one another on long distance romance ("How many miles?
And how much do you
love her?").
As new segments developed and

clear that these juxtapositions
Tsangari plunged into

videos,
some
still
styles multiplied
over the shoot,
needed some connective
10-years'
worth
of her
own
tissue.
became
super-S films,
and snapshots, constructing travelogue segments that would
er the hotel episodes, create
it
That's
when
home
link togeth-
an emotional progression, and formally bind them
July
2001
THE INDEPENDENT
all
29
of, say, the letter L and the number 2 on Sesame

more conscious autobiography came to the fore.
together, after the fashion
At the same
time, a
Street.
tell, like 'before this film I was working as a cab

watched Some Came Running when I was four,' " says
Tsangari. "I've been a school brat and a geek all my life. I grew up on a poetry and
theater diet. I started obsessively watching films pretty late, when I was 18 or 19,
when I was finally, inevitably, struck by the discovery that cinema is
'I
theater+poetry + travel + sublimated desire + politics + cooking

that interest
As
me
in one, portable,
the
all
things
own
ently,
that's
having hindsight,
back and do things
to go
when we
because
moment. But
you know?"
arc,
shot
was
maybe more
it
differ-
just in the
like real life,
Editor/co-producer Matt Johnson concurs.
seven years), cinema also suggested a good way to record
constant movements. While wandering America on a Fulbright to
New
York University, she stopped off in Texas. Curiosity led her to the Austin Film
Memorial Ballroom and unexpectedly into the
Society's Pier Paolo Pasolini
made me want
ephemeral suitcase."
she had never lived in any one place for very long (before settling in Austin
for a personal record of
her
about the story
was making a
each room. Knowing
different character for

later
times over
at different
those years. At the beginning,
don't have a fancy story to
"I
driver in Athens,' or
was different people
role of
"Because the story hadn't been conceived

beforehand
one continuous two-hour pack-
as
age,
where the actor knows how
up,
these contradictions in character
end
will all
it
made
Petra less controllable or easy to figure out. So
we
get to
show more
than would
sides of her
normally be the case for a fictional character
but maybe not for a real person.
The
character
developed in working out the order of the

episodes,
when we
started to get a sense of
where the movie would take the audience emotionally."
The
five-year production timetable result-
ed in other historical
felicities.
The
If
Sbw
Business of Going consciously engages a century
of cinema in
crazy quilt structure,
its
offers a literal record of the film stocks
it
also
and
for-
mats employed by enterprising low and no -budget filmmakers in the nineties.
written right
It's
into the emulsion.

As an employee of the Global
Nomad
"You can see a progression through the
Project, our heroine ha~
how
Kodak
the sights and sounds accumulated on her travels down-
movie
loaded from brain to disk:
richer, less grainy,"
Deb
[the
got better,
stocks]
enthuses cinematographer
Lewis. "You can see in
some segments how
the newer Vision stocks hold the blow-up,

"the cousin from Greece" in Richard Linklater's Slacker.
when we
"Immediately
met,
we
got into
they almost look as
these arguments about cinema,"
all
recalls Linklater.
"She was so smart and passionate, and had
to be in the film.
So I'm not
at all surprised.
MFA
NYU,
much
Tsangari returned to
in film production at the University of Texas
founded the Cinematexas International Short Film

course, she spent
energy
mean, she was only 20 and already
she carried herself like a filmmaker." After finishing at
Austin to complete an
just the right
Once
Festival.
and
settled, of
of that time making a film about incessant travel, con-
cerning a character who, like herself, represents an extreme example of our mobile
society. Recently, in fact, she relocated
if
on 35mm. And of course you can

al
progression as well
relationships
and our
see a person-
a history of our
artistic
course of the film."
The ongoing
collaboration continued to the
very end of the
35mm
blow-up (funded by a
completion grant from the Greek Film Center)
Faced with an unruly combination of formats,

the negative cutter at Immaculate Matching
back to her native Greece.
in the plot,
choice about making
it
deadline to have the film ready for
inherently political,
knew
thing
we experience
personal. But working from

it
had
to be about this
into spectacle for imaginary audiences
with authoring everyday reality by transforming

that Petra
even though she had
This was where
an idea of autobiography
compulsion
Lizzie, as a friend
all
my home
it
this fascination
into popular media.
movies
and an adventurous
would
actor,
as
for turning every.
So
hoped
rebel against me.
was such a valuable
"To be honest,
"I
we
mean,
30
never
fully realized that
my
character was based
on Rachel
started recording the voiceovers in the last few months," says Martinez.
just
twined with a
and everybody
at
DuArt became
at the Thessaloniki
"No
conspirators
working under an impossibly tight

its
premiere
Film Festival.
film should be
made
like this,
should have to put up with what
and no
lab
we brought
them under such an unreasonable
deadline,"
confesses Tsangari, "but the personal attention
they put into this film, and the trust they put in
collaborator."
until
working
growth over the
"When my friend Ralph McKay saw the movie, he asked me what it felt like to
have all my laundry hung out on the line," she says. "I don't think I really had a
I
how
they were originally shot
because of
lot of
how
long
it
took to make
other things going on in
THE INDEPENDENT
July
2001
my
life.
five years
What
it
notice
seems
now
is
us was totally amazing. Irwin
was an incredible mentor. As
we were
Young
at
DuArt
difficult as it was,
that things just wouldn't
inter-
as scared as
how
work, he was always there, as excited and ener-
gized by the chal-
lenge
we
as
were."
"We
did-
just
have
n't
money
to
the
do
a lot
the
things
of
'right'
way dur-
ing production,"
Johnson.
adds
"So when they
saw the nicker

and the hair in
the
projector
gate for
some of
the
super 8
DV
transfers,
to
we could
off the wall
was
scious of
as a projection. It
it
we were out of our minds. I mean, shooting it

but we did it in a way that you should be conspeaks well of them that they didn't freak out. And
think they thought
all
afford,
most everything came out looking better than we'd imagined. What's the thing
they say about
God
looking out for fools and dogs or monkeys?" Indeed, whether
blowing up 16mm, DV, super 8 transferred to DV, or rendering AfterEffects frames

directly to film, the look of the
Or
whole picture
is
precise, consistent,
and
virtually
and flawlessly flawed.

That spirit of making a movie by any means necessary does not merely place
The Slow Business of Going firmly within the tradition of independent avant-garde
flawless.
filmmaking or make
good yarn about how those crazy kids put on
for a
a show.
It
sion and magnetic tape piece together a struggle to hold onto things, to prove to
oneself that you were really there and

ing in the truest sense, disregarding
mentary, theatrical feature and

Just don't call
"when
it
it
all
home
did really happen.
distinctions
It's
personal filmmak-
"It's
if
between narrative and docu-
come
this,
'experimental.' "It gives
me
pain
when
people
call it that," says
there's truly experimental
first film,"
says Linklater.
approach to cinema.
It's
aware of its
goes against the current;
it's
"Where you put
And
all
of yourself into
it,
got this other
own history, which I
appreciated, while
it
also
and
true
"Everywhere we've gone, no matter what country," says Tsangari, "people,
one of the few times they have seen

something of their lives on the big screen. They talk about how they seem adrift,
constantly moving
even while staying still! And how it makes them feel addictis
ed to images, identifying entirely with Petra. They seem moved and kind of shaken by the end of the film." While it ostensibly critiques turn of the century disits
battery of media techniques
and
it
predicted didn't
it
absolutely did. People in
little
screens, while attempting to
black slab
not
com-
coincidentally
common
Nevertheless, they have
rooms and
in
their directors' interest in science
fiction. Certainly its use
setting to
more
than the signal importance of hotel

of international
examine human connection
is
jet-
not
on
communication and education. But more fununlike Kubrick's use of space travel to essay
damentally,
film of
it
just
2001 so
may be
far that
that this
is
the only
even remotely breathes
the same air or swims the same water as 200 J

its
hope, sadness, and skepticism for people
tex-
The Slow Business of Going is actually most thrilling in what it offhandedly

documents: the time and places and people that converged for its making. "It's
it
yet
like the Cinemascope frame.

The Slow Business of Going is not so cosmic,
religious, or epic, but then 2001 isn't so naked-
in
tures,
great to see
2001,
about that Jules
claustrophobic spaces spend a lot of time look-
ly personal.
traveling the international festival circuit (Thessaloniki, Rotterdam,
connection and displacement through
The world
life.
come
as
layer, too, in its
not just a product for some vague marketplace.
30s, say that this
Kubrick's
to
isn't really
all,
shaped
it's
South by Southwest, and Buenos Aires by press time), it has found audiences
responsive to the humor and melancholy in its chronicle of obsessive documen-
and
and come
a real cycle of life."
compares
it
cycles of
prehend
That's a major accomplishment in this day and age."
especially in their 20s
Verne interplanetary hardware, but about
ing at
a great
together and grow apart
together again
In
there never could be another film.
tation.
Petra {with shades) works
with a blind martial arts instructor.
which, after
"
While
Mika,
Left:
movie.
work out there that really inspires me,

like Leslie Thornton's Peggy and Fred in Hell, which really pushes the envelope. I
mean, we were using known genres and structures from film and TV We always
had our eyes on the past, so what we did was actually not avant-garde, but 'apresgarde.'
effcounfervrith her best friend,
and emotions. These fragments of chemical emul-
links directly to the film's story
Tsangari,
Petra enjoying a rare in-person
at least consistently inconsistent
finished now," remarks Martinez, "as a testament to people living
and
their technologies going
nowhere
fast.
Spericer Parsons [spencerpar$ons(g hotmail.com]
is
filmmaker, writer, festival programmer,
and curator
and working together over time. You know, babies have been born and some of
the people involved have passed away since we started. It's about how people
luk
2001
living
Austin, Texas.
THE INDEPENDENT
31
The
line
between studio and experimental film blurs
in
Robert
Florey's Hollywood Boulevard (pictured)* adapted from Florey's

'
SEEING
Unseen Cinema unearths
IS
a
new
and Death of 9413: A Hollywood

some of its formal play.
experimental short The Life

fxtra ajd incorporating
BELIEVING
history of the early
American avant-garde.
by
Steve Anderson
THE
CONVENTIONAL HISTORY OF AVANT-GARDE CINEMA
maintains that there was only "scattered" activity in
America
prior to 1943,
when Maya Deren made
her
To
say
celebrated film-poem, Meshes of the Afternoon.
otherwise
almost heretical in the world of film scholarship, but
is
new travelling program of films from the 50 years prior dares to

make the case. Unseen Cinema: Early American Avant-Garde
a
Film 1893-1941, a joint project of Anthology Film Archives and
Filmmuseum
the Deutsches
series of rare
in Frankfurt, will bring a 15 -part
and unseen footage
July.
one which
The
films that Posner
though many
accounted
for
is
by conventional
cases, shouldn't
have even
accommodate new
things
films that, in
pieces of familiar puzzles
is
always ready to
a missing reel sal-
vaged from a dusty corner of the archive, a shooting
script with
just as long as they support
But what are we to make of films that
radically disrupt accept-
ed timelines and comfortable historical narratives?
demonstrate
styles,
What
about
techniques, or concerns that are
not supposed to have been invented (or imported) until years or

decades
later?
How
can we account
Structural film, displaying
made
that was
who
tor
for
what appears
in the 1920s, for example, or a
Hollywood
uses the industry for personal experimentation?
direc-
It is
just
exceptions the
anachrocoruscations
form the heart of Unseen
these types of aberrations

nisms, and stylistic
to be a
the concerns of 1960s Minimalism,
all
The Depression
also highlights the
to
including
Henwar Rodakiewicz's
Portrait of a
Young
Man
(1925-
31) and Bitzer's Panorama of Machine Co. Aisle Westinghouse
Works (1904). Of the

Posner
latter,
re-
^^HHfcut
4*.'
marks, "This was 60
the logic of chronological progression from past to present.
films that
as
York
notes several other future-anterior examples of Structural film,
histories;
existed. History
handwritten notes by the director
New
some
if
provoke both controversy and
they
on concrete subjects such

City. Unseen Cinema
while others focus

or images of
structural filmmaker Ernie Gehr's Serene Velocity (1970). Posner
a unique
showing are not merely obscure or
are both
around abstract ideas such
are organized
"Melodies and Montages" or "Fantastic Myths and Fairytales,"
for-
is
interest in a long-neglected corner of film history.
gotten
concerns without regard for chronology or
stylistic
Some programs
"type."
are films that couldn't be
Curated by filmmaker and historian
likely to
is
this
North American Structural film movement that flourished

briefly in the late 1960s and early 70s. Archie Stewart's narration of a series of camera and microphone tests in Reel 66 (193639), for example, eerily prefigures Morgan Fisher's deadpan exegesis of film processes in Picture and Sound Rushes (1973) and
Cue Rolls (1974). Likewise, Billy Bitzer's symmetrical composition and stroboscopic motion through a subway tunnel in Interior
NY Subway, 4th St. to 42nd St. (1905) is echoed formally by
attempt at both historical revision and preservation, and

well,
thematic or
as
some of
of boundary- crossing, often combining works based around
spirit
often uncanny resemblance between "primitive" cinema and the
cities across
Bruce Posner, the staggering 22 hours' worth of film

go
House of Usher and Ralph Steiner's H20."

In structuring the programs, Posner recaptures
the
International Film Festival in June, then the
of American Art in
the
Moscow
Whitney Museum
numerous
to
five years, stopping first at the
world over the next
you'd have a lot of travelogues and birthdays, but also The Fall of
rule,
that
Cinema.
years before [Michael
Snow's]
Wavelength
and
practically
it's
the same film!"
While
conven-
narratives of
tional
film history tend to
naturalize
the evo-
of classical
lution
Hollywood cinema
toward increasingly
Perhaps the most remarkable thing about Unseen Cinema
is
(and
realistic
Another Florey flourish
for-
in
Love of Zero, one
of the three
extant experimental works by this versatile director.
inclusion of
its
been
ries
left
numerous amateur filmmakers whose work has
out of both mainstream film histories as well as histo-
of the avant-garde.
unknowns
like
The
series includes
works by relative
Theodore Huff (who, according
to legend,
was
instrumental in reopening the Library of Congress' paper print
and home moviemaker Elizabeth Whitman Wright
collection)
mulaic)
narratives,
this series charts a distinctly different course. In a sense,
Posner does
uncovering works that
from
history's
avers, "is
what
dig deep into the subconscious of the silent era,
is
whether forgotten or repressed
stray
well-worn paths. Curating such a program, Posner
more
art
than science," hastening to add that
his
seem-
positioned on an equal footing with classics of avant-garde cine-
ingly chaotic juxtapositions are in fact crucial to the logic of the
ma
overall
like
James Sibley Watson and Melville Webber's Lot
(1933) and influential European work like Marcel
Man
in
Sodom
Duchamp and
Ray's Anemic Cinema (1925).
Prior to
World War
II,
Posner argues, the distinction between
avant-garde and amateur was
less clear.
"Art films" and "amateur
movies" often shared exhibition venues and distribution networks.
And
in the 1920s, a
group called the Amateur Cinema
League began publishing a high-quality glossy monthly magazine, which included information about avant-garde cinema. But
perhaps most importantly, these two groups often shared the
same audiences and therefore experienced a certain degree of

formal and thematic cross-pollination. "There was an amazing
distribution
network among amateur
program. "I wanted to have Busby Berkeley and

Hollywood musicals or Slavko Vorkapich's montage sequences
right up against a home moviemaker like Archie Stewart or
Elizabeth
Whitman
Wright. This way you see that they're obvi-
ously different but at the

straws:
visual
how
to use this
and exciting
Posner's
same time
camera and
they're grasping at the
program
same
something
effectively contradicts the prevailing
Sitney in his
book on page
most
influentiallv by
P.
1979 book, Visionary Film: The
American Avant-Garde
Sitney's latest
to get
across."
historical narrative, articulated
Adams
form
this
1943-1978
[see
review
ol
44]. Sitney argues that avant-garde
film clubs," says Posner,
"and these were open to avant-garde filmmakers
as well.
So
cinema was
essentially transplanted from
lulv
_\VI
Europe
to the
United
THE INDEPENDENT
33
States during the 1940s. Films from the French Surrealist
move-
Un
Chien
ment such
Louis Bunuel and Salvador Dali's
as
Andalou constituted an ur-text
for a
whole generation of avant'
them film-by-film, but he went and looked for them and found
them and started to amass them as a group. I call Unseen
"
Cinema 'the movie of the book.'
garde filmmakers in the United States. According to film histo-
and
rian
archivist at the Library of Congress, Brian Taves, "For
years, the
New York elite
movement
much to
create the post-war
was up to scholars to challenge the conventional
and they
left
came with the
1995 of Jan-Christopher Horak's Lovers of

Cinema: The First American Film Avant-Garde 1919-1945.
Avant-garde historian and USC Professor David James says,
great
"Sitney's
work
[in Vision'
ary Film]
was
or-
York perspective,
what he
so that
called
the
ionary
tradition'
in the
American
'vis-
avant-garde was
New
alectics of
Rom-
New
York.
away from the experimental filmmaking that had happened

United States in the 1920s and '30s. The intervention of
Horak's book was an attempt to create a different genealogy for
the post-war American avant-garde."
The genealogy created by Horak and the other contributors to
Lovers of Cinema sought to recuperate a range of previously
in the
makers such
unappreciated films into the history of the

offering detailed analysis of work by film-
as Paul Strand, Charles Sheeler,
Ralph
but
its
impact was perhaps blunted by the fact that the vast
majority of the films
This
seeks to
is
make
Lovers of
it
discussed were nearly impossible to find.
where Unseen Cinema comes

available
Cinema
many
as well as
in.
Posner's program
of the films which are analyzed in
dozens of others which support the
existence of indigenous avant-garde practice in the U.S. even in
cinema's earliest days. These include such relatively well-known

films as
Fernand Leger and Dudley Murphy's
Ballet
and
and Death of 9413: A Hollywood

Extra (1927), Alia Nazimova's Salome (1922), James Sibley
Watson's Lot in Sodom (1933), Charles Sheeler and Paul Strand's
as well as work by pioneers of abstract animaOskar Fischinger and Mary Ellen Bute.
"The beauty of Lovers of Cinema,'" says Posner, "is that it gives

things that have
the most open picture of what was out there
never been recounted in detail. Horak's book not only describes
34
THE INDEPENDENT
July
2001
he explains
still
the
and Horak involuntarily concluded what he

and last experience with the world of big
project
describes as his "first
money Hollywood."
Talking about the relation between Hollywood and the avantgarde,
Horak might
as well
lar display is
own uneasy role as

museum where the most popu-
be describing his
a serious film scholar directing a
a set from Star Trek: The Next Generation, "Within
moments
the industry there are always pockets and

resistance
last
where experimentation
is
allowed.
It
or points of
doesn't usually
very long, but they're always there."
The
blurring of boundaries
industrial
between avant-garde and
early
cinema constitutes one of the most provocative
aspects of both Horak's
book and the Unseen Cinema
ment of the avant-garde),
these projects point to
convergence between the two. In Unseen Cinema,

plified
fluidly
project.
by the work of figures such as Robert Florey,
between experimental and
industrial
moments of
this
is
exem-
who moved
practice;
Busby
whose use of montage and formal experimentation

defied all Hollywood conventions of their time; and Slavko
Vorkapich, who built a career on creating visually striking experimental sequences within otherwise conventional Hollywood
Berkeley,
narratives
(the
unacknowledged predecessor to today's
title
sequence auteurs).
The
Horak
thing to remember,
says,
is
that "the avant-garde
has always been defined in contradiction to mainstream cinema.

In early cinema there
is
no industry and no
codified film lan-
guage. There are only individual producers, experimenters
who
very often are shooting the film themselves. They're developing
The
same as
book in some sense
provided the theoretical basis for Unseen Cinema, Horak has
provided minimal input regarding Posner's programming decisions. "He likes to say this is the 'movie of the book.' Who
knows? Maybe it'll sell a few more copies."
it,
they're doing everything.
practice
is
virtually the
that of avant-garde cinema." Although his
Even
within a field that's
eccentricity, Posner
Life
Manhatta (1921),
tion such as
later,
Mecanique
(1924), Joseph Cornell's Rose Hobart (1936), Robert Florey
Slavko Vorkapich's The
to
with a hint of bitterness, the studio abruptly pulled the plug on
Steiner,
Mary Ellen Bute, Jay Leyda, Douglas Crockwell, Robert Florey,

Theodore Huff, James Sibley Watson Jr., Melville Webber, Man
Ray, and Dudley Murphy. The work was well received by scholars,
come
garde and industrial cinema (which inevitably works to the detri-
The framing and conceptual foundation
American avant-garde,
York, to
and
tion
or
his deci-
Modernist
of his work, in that particular project at least, turned his atten-
unknown
Horak recounts
Rather than perpetuate the radical distinction between avant-
antic poetry
paralleling the migration of the Parisian school of
from
street
Eastman House in Rochester,

Los Angeles and create an archive for
Universal Studios. Two-and-a-half years
seen as both remobilizing the di-
the
sion to leave his job at the George
New
iented by a
down
just
A German native who speaks
English without a trace of an accent,
substantial challenge to Sitney's premise
a tiny
subterranean floor of the Hollywood
Mann's Chinese Theater.
history,
publication in
painting to
on
Entertainment Museum,
wrote the
wisdom propagated by filmmakers themselves."
Cinema now works out of
editor of Lovers of
office
out their prede-
also
cessors... It
that did so
The
is
known
for
iconoclasm and
sometimes characterized
as
some-
thing of a loose cannon, an enthusiastic and quixotic
independent whose diverse
interests
make him
best
known
for "digressions" into the farthest reaches of film history.
But he
is
also a tenacious
garde cinema
who
programmer and advocate
for avant-
has dedicated the last three years of his
creating a program that he hopes will
bution to film historiography.
make
life
to
a significant contri-
"Nobody has done
before," Posner says with obvious
this
excitement, "these films have never been grouped this way.
A lot
them were seen only by a few people. Even the Hollywood

films came and went after a two-week run. They weren't around
the way they are today. It wasn't until television that films resurfaced and could be seen over and over. So I'm sort of doing that
they'll be available again and they'll get out in
for these films
various ways and become part of the cultural fabric."
The idea for a program of films that almost nobody has seen
of
had been percolating
when he was
in Posner's brain since at least the 1970s
went there because people

there
told
me
on avant-garde
this 'other
Institute of Chicago. "I
there was a guy teaching
named Stan Brakhage," Posner
great course
was
Art
a film student at the
cinema' underneath
"Brakhage taught a
recalls.
film history
all
and
discovered there
the cinemas that everyCurses
one knows about."

Inspired by Brakhage, Posner began experimenting with film-
making and has since created over 50
Nowadays, he
films.
lives
across the street from J.D. Salinger (who, he notes, has a large
film collection) in
produced
New
Hampshire and
rarely
watches anything
in the film industry after 1941, finding
Hollywood
films
contemporary
"anemic" compared with the richness and com-
Although he confesses to hiding in the

no recluse. He has curated film programs
plexity of early cinema.
past at times, Posner

all
over
New
is
England (including a five-year
stint at the
Harvard
Film Archive) as well as in Florida, where he helped found the
in
Fall of the
House of Uscher (1928) by James
some of which had
imately 60 films,
Sibley Watson.
negative.
On
the importance of Cineric's contribution, Posner
their incredible,
to
unprecedented act of generosity. There's no way
thank them."
In spite of the best intentions of archivists, the preservation of
avant-garde films
ing.
Horak
is
often an extraordinarily difficult undertak-
notes, "Right
now
if
the film preservation funding
you look
the
at
who's doing most of
Martin Scorseses or the
who
David Packards of the world
screenings from his personal collection.
on the Hollywood cinema. The other problem

ers, especially
it's
people
are really focused
that filmmak-
is
avant-garde filmmakers, are notorious for contin-
Film Archives, which has served as the gravitational center of
uously reworking their work, so you have films that are in
New York's
avant-garde film scene since the 1970s. This, in spite
six,
of the
he
fact,
says, that "a lot of
people regard Anthology as a
kind of ugly cousin of the film world... So the project had two
strikes against
it
right
from the beginning: one was Anthology
and the other was Bruce Posner."
New
Following a successful "prototype" program in Hanover,
Hampshire
in 1999,
which included
lectures by several of the
contributors to Lovers of Cinema, Posner began to feel
hopeful about the program.
The same
year,
Brian Taves,
more
who
also
seven different versions.
What
is
But Posner points to a more hopeful connection

between avant-garde practice and concern with preservation.
"Many of what we now consider the established preservation
institutions
MoMA,
[e.g.,
Eastman House] were
Anthology Film Archives, George
actually the product oi individuals
were obsessed with film and loved

ing to
work
to save
it,"
he
says.
it
so
garde films were the same ones
Although the experimental programs were disappointingly
preservation.
under-attended, Posner remained convinced of the importance
and independent filmmaking pre- 1941
indeed, their efforts were rewarded when, as
a direct result of that program,
one of Robert
Florey's early
avant-garde films which had been held at a film archive in
Moscow
triated
for
over 70 years was rediscovered.
The
recently repa-
(and stunningly beautiful) short, Skyscraper Symphony
(1929), will screen with Florey's other two remaining avant-
garde films, The Love of Zero (1928) and The Life and Death of
9413: A Hollywood Extra (1928) for the first time.
Perhaps
equally important as the programming
preservation
remarkable gesture of support,

Laboratories agreed to do
Unseen Cinema
world
tour,
is
component of Unseen Cinema.
free of charge.
all
New
Cineric
necessary restoration for
By the time the
Cineric will have created
York's
the
In
new
series begins its
The
who
interrelationship
instituted the archives
between
it
is
hand
program
approx-
and
in glove."
Cinema
is
the
holds to re-open discussion of these films and the his-
which they attest. "I think it's important that any scholwork be checked by other scholars. And that's only possible
if the films are available. Somebody else might write a book that
attacks my work, and that's fine, but they can only do that if they
can see the films." Toward this end, whenever possible, screenings of Unseen Cinema will be accompanied by panels, lectures,
or presentations by the various contributors to Lovers of Cinema
or Unseen Cinema's advisory board, which includes many of the
most highly regarded scholars of avant-garde and early cinema.
But for Posner, it will be enough it the films get seen. "I just hope
tory to
ar's
the
title
fill its
of the project defeats
itself,"
he
says, "that
it
doesn't ful-
destiny."
negatives and exhibi-
tion prints for over one-third of the 145 film
new
film preservation
For Horak, part of the importance of Unseen
promise
who
they were will-
"This concept seems brand
seen films from the 1920s for the Pordenone Silent Film Festival.
if
much that
you look back, the people who made these avant-
to us, but
And
five,
Who
the original object?
knows?"
contributed an essay to Horak's book, assembled a series of rarely
of the project.
is
unequivocal: "This program couldn't have happened without
Alliance FilnVVideo Project, and he regularly hosts public film
For Unseen Cinema, Posner enlisted the support of Anthology
from
to be pieced together
multiple surviving prints to yield the best quality preservation
Steve Anderson
is
a jilmmukcr and freelance writer
July
AVI
living
Los Angeles.
THE INDEPENDENT
35
A new Guggenheim
project studies
how to preserve ephemeral media.
Nam
June Paik's TV Garden,
a case study
in
preservation.
When the Guggenheim

Museum
held
Nam
Paik's
June Paik retrospective

recently, it had a little
problem on
lation that
and
and various sounds,
TV Garden, an instalTV monitors,
video playing on
live plants,
it
had
to go to great lengths to locate the
original 2-inch masters in the archives of a

tion,
New
York
PBS
sta-
then transfer them to a modern format.
What would
the
for the original
museum have done
format
still
being be saved in their original analog form, future incarnations will likely pass into the ones
and zeroes of the computer
age.
ephemeral work? Instead of creating a
a variable or
artwork
lines so that the
can be recreated
is
not a
final, fixed
in different locations
and
product but instead
different spaces.
The
majority of works in this category are video, since installations
on placing monitors
or screens within different
museum
or
However, there are film examples of variable
gallery spaces.
work, most notably Ken Jacobs' nervous system projector perfor-
mances, such
as
The Crystal Palace and Bitemporal
Vision:
The
Sea.
vation: storage, emulation, migration,

film-
four strategies for preser-
and re-interpretation. For
and video-based ephemeral works, only the
apply. Storage relies
on simply keeping the
first
three
original elements, as
well as compatible playback equipment. Emulation uses
com-
means to attempt to recreate the original work,

while migration moves recorded material to new formats.
pletely different
Converting film or analog tape to
digital
video could conceivably
under either of these categories.
The
Variable
Media
Initiative
is
Meg
by
installation
Often
an earthwork
Webster, an audio installation by Bruce
and more.
Holzter's electronic Truisms,
there's a hazy
boundary between variable and non-vari-
Tom
able artwork. For example, Jacobs' 1969 Tom,
the Piper's Son,
unlike his nervous system performances, would at
appear to be a non-variable work
its
two
reels
THE INDEPENDENT
July 2001
first
glance
can be rented
and shown on any projector without Jacobs' presence. However,

European video release, Jacobs included the
in preparing a
sound of the projector
at the film's
beginning and end, along
with the flapping of the film print spinning on the take-up
reel.
Granted, there are few films which address the projector's role in
cinema more than Tom, Tom, but

any film or video
is
it
raises the question
a variable work,
made
whether
variable by each by
each projection or playback.

There's a larger philosophical question that the initiative
namely,
if
ephemeral,
is
es,
the works being preserved are
there
make microfilm
been released
their "restored" versions.
object
No
is
it
copies,
and
films like Vertigo
real
metaphor:
answer
if
the
finished dish
works that
is
and
in substantially modified forms in
But in
artist's
(e.g.
rely
possible,
is
this
case,
the preservation
but the slipperiness of ephemeral
perhaps best explained by a culinary

variable
TV Garden),
work is closer to a recipe than a

can be preserved. But variable
it
on human presence
especially the artist's pres-
are far clos-
complete dish than a recipe. Trying to preserve such
works through possibly
inferior reproductions (and freezing
one incarnation) may end up decimating them
None
still-
often immaterial.
work preservation
er to a
be
intends to pre-
have been recently been accused of gutting
usable books to
rais-
to
any real point in preserving them?
Preservation often destroys the very objects
Othello have
meant
it
to
instead.
of these issues have been settled yet, as the Variable
is on an ongoing project and will center on conon exactly how they want their works to be preserved. Whatever form they take, museum collectors and the
artists should continue to work together to ensure that these
Media
Initiative
sulting artists
works can outlive their creators.

doing specific case studies
using these parameters [seewww.guggenheim.org/variablemedia]
36
are also are case
ence, such as Jacob's nervous system performances
The Guggenheim has come up with
fall
now under review. There
studies of performance art by Robert Morris,
serve; libraries
finished product, the artist creates a set of instructions or guide-
rely
volving film and video
Nauman, Jenny
no playback equipment
functioned? Or, in the future, what
happen when no cathode ray television sets still work? Paik's

work might have been and still could be lost to the ages only
several decades after its creation, like an ancient script whose
meaning has escaped time.
The Guggenheim, which has a preeminent collection of
video installations and other ephemeral media, has created a
program called the Variable Media Initiative to save works like
TV Garden before it's too late. The recently created campaign
aims to preserve works of art such as performance pieces and
gallery installations, including those whose primary medium is
film or video. Though currently most of the pieces the museum
will attempt to preserve are non- digital and will for the time
is
Jacobs'
Sea from his Nervous System series are the two case studies in-
if
will
What
Garden
Bitemporal Vision: The
hands. To include his 1974
its
combines
TV
Ken
Patrick Ciccone
is
a student at Columbia University and film editor of

the Columbia Daily Spectator.
I
Recently
I've
phenomenon
flO^Jsteps
heard a lot about the so-called microcinema
independent cinemas sprouting up in virtu-
tiny
every metropolitan center and college town across the
ally
United States. From Basement Films in Albuquerque to the Popa-Top Bijou Cinema Appreciation Society in Boston, they run the
gamut in content and philosophy as well as geography. But as best

I can tell, they're more like a new twist in a familiar cocktail than
approach to film exhibition.
a novel
Cinema
Let's
not forget
Amos
is
the bee's knees, but you ought to at least look forward to
programs.
If not,
why
ask yourself
6.
Be
generous.
you don't think a certain film
If
Home
in
prompted
Pittsburgh. If the forces that
their
founding
New
ater in
York's
Lower East
Side.
what's
differ, their
we
.*C jk
Over
the course of 150 different programs I've developed a rough set of
1.
The
films
providing
do
come
my
first.
venue,
and
best to honor,
2. Presentation, presentation, presentation.
look as good as you possibly can. That doesn't

Ziegfeld, but
sound
good, and the
No
is
it
artist
is
an
artist
lot
make
like
Make the movies

mean you have to
mean you should make

work and are in focus, the
happy. Notice the emphasis here.
of venues can't:
try.
flexibility.
And you
can
offer
Take advantage of
it.
wants to do something unusual, consider that an indi-
cation that you're doing something right, and do your best to satisfy
the
artists
been shown
shown
even
Sure, festivals get away with charging submisand not paying rentals and filmmakers resent them
That's why most festivals are so crummy and uninspired;
why should
take a chance.
first
place.
8.
Make
years, or
it's
one that has never
concept you aren't quite sure
will
the artists part of the programming. Unsurprisingly,
most film
artists (certainly
the most interesting ones) have spent
and thinking about them.
a great deal of time watching films
They
how
generally have a pretty good idea of
it.
That's an asset
artists for
programming suggestions.
answers,
guarantee
their
own
films
fit
some prodding
worth capitalizing on. Ask
into the spectrum, though sometimes
artists
one expects
to
put out for rewards that are dubious at best?
make a mint, but getting stiffed is an insult.

money to make films, and they deserve to
9.
The more
ter.
takes
it
You'll
be surprised by their
it.
artists.
more.
Don't pander to your audience.

it's
If
people
come
to the
shows
because they believe in what you are doing. Don't
second-guess that.
However,
if
you wouldn't pay
You don't have
You
to be
is
to see
integrity.
it,
don't
show
it.
The
Don't go compromising
convinced that everything you show
films, the bet-
is
doing.
You become
make
don't need a grant.
but don't wait for
It's
encourages
sense of what
a fixture rather
not as glamorous, but in the long run,
room, a projector,
foundation of a micro-cinema
there.
10.
else
It's
show
attracts a lot of attention, but a series
People congregate, share ideas, and
everyone
get paid.
you host,
frequently and regularly you
A festival
event.
5.
just a
30
Remember, you don't have to justify yourself.

You can do whatever you want. That's why you bothered in the
gel,
People spend a lot of
4.
before, or
in
artists. Period'.
it.
No
a film that hasn't
the Poetry
Whether
before yourself. In other words, pay
sion fees
for
call it
of Failure. That's part of what makes your job exciting.
before they'll admit
them.
Always pay the
3.
who's
does
dark, the projectors
one expects perfection, but you can
something a
If
is
artist
7. Leave yourself
open to failure. I
but don't go congratulating yourself.
room
one by a
minor
dead in the water.
You're just the middleman. Sure, you're
you're the whole show.
compete with the
than
offer here to share:
Introduce the films, do your song and dance, but don't
sure the
It
was joined
present a program of films, videos, and whatnot.
maxims, which
not.
means a lot more

to show a film by
an artist with a
by a co-curator, Bradley Eros. Every Tuesday at 9 p.m. (or thereabouts)
than
rather
at a dingy but pleasant the-
A month later,
good,
what's
[,
myself started a weekly film series back in June 1998 called
Cinema
work of
it.
premises remain strikingly constant.
the Robert Beck Memorial
is
Hold onto it. The right context will eventually appear. Of course, some films are so awful they need to be
trashed right away. But give the rest some time. Learn to look for
genius, don't sweat
Vogel's
Canyon Cinema in the 1960s; and

San Francisco and Orgone Cinema in
them
you're bothering to put
on.
16 in the 1940s or
Total Mobile
Brian Fry
by
it
than an
means
a lot
awfully nice to get free money,
Showing movies is easy. All you need is a

and a screen. The rest is dressing. These days
it.
you can pick up the
essentials for
$200 or
a-ok from the powers that be? Just get to

Brian Frye
is
less.
it.
If
Why wait
you
care,
for the
it's
easy.
a filmmaker, curator, and freelance writer

living in
July 2001
New
York Ciry
THE INDEPENDENT
37
It's
hard to
was a time when San

on the cutting edge of all the arts. Back in the
imagine, but there
Francisco was not
early 1960s, experimental filmmaker
Bruce
Bay Area from England, and he was surprised
no
When
infrastructure for his field in place.
to the
was
to find there
he put up a sheet in
He
his backyard.
and
invit-
edging
its
and
The
thing he could get his hands on, from movies
now
community
averages 70 to 100 shows
A recent highlight came in April,

Cinematheque was awarded the San Francisco
International Film Festival's annual Novikoff Award, acknowlthe
taken out of the local library to items from
it
over the Bay Area.
all
they watched any-
program to where
built the
a year
over friends for potluck food
potluck entertainment
the Cinematheque's infiltration of the broader arts
when
he couldn't find a
showing experimental works,
local exhibitor
ed
moved
Baillie
Massachusetts College of Art. In San Francisco, he presided over
longtime support for film
Independent
Cinematheque's
official
Anker
40th birthday in
researching the history of Bay
upcoming
as art.
with
spoke
just
July,
before
the
while he was busy
Area avant-garde
film for
an
series of shows.
people's private collections.
was
yon,
Baillie,
who
in
Can-
living
the
in
called these
East
the
Bay,
Canyon
Cinema Screenings and

the
events slowly mor-
phed over 40
years from
the pastime of a self-con-
tained
into the
cisco
It's
group
social
little
renowned San Fran-
make
that transition
from underground obscurity to estabished
without
organization
arts
encountering a few bumps in the
The
road.
Screenings got
Two
Canyon
Cinema
bumpy right away.
years after
the Beat poets and musicians
all
it
was launched,
Baillie stepped aside
and then
the leadership changed

erous times.
It
num-
wasn't until
the early eighties when Steve

Anker took over that the
Cinematheque achieved finand structural stability.

n the seventies, Anker had
with
involved
Collective for Living
New
the
Cinema
in
York, where he began the

Idiolects.
He
also initiated the film
and
film journal
video exhibition program
surprising
it's
San Francisco when
Baillie first
There had been 15 years of postwar
film activity in the
Bay Area.
arrived.
In the late forties, poet James Broughton and painter and sculptor
Sidney Peterson began making films (The Potted Psalm).
Collage
artist
Bruce Conner (A Movie) began working with film
in the late fifties
around the same time that animator filmmaker
Lawrence Jordan (Duo Concertantes) held some fleeting series

that showed unusual films. But as of the end of the fifties, there
ately
began putting out
[to
show work] Baillie immedimore people involved and

.
feelers to get
have regular screenings in different venues, although he wasn't

concerned with making bridges to the
city.
Chick Strand joined
and they planned programs several weeks, even months

ahead of time. Then in 1962, Baillie met [Ernest] Chick
Baillie
Callenbach, one of the founders of Film Quarterly, and got him
produce The News
to help
graphed
(later
Canyon Cinemanews)
newsletter that included notes for filmmakers
mimeo-
and eye-
witness reports of what was happening in independent film
all
over the country.

The screenings must have soon expanded beyond
When
did
Baillie
and Strand gave up the
took over.
shows
Baillie's
backyard.
Canyon "invade" San Francisco?
ancial
been
North Beach,
in
in
were no consistent public places
Cinematheque.
impossible to
With
there wasn't a happening film scene
reins in 1965,
and Emory Menafee
He programmed
at Bill
Graham's Gate
Theater and Glide Memorial
Church
in
North Beach, and
he staged collaborations with
San
the
Francisco
Tape
very important
musical experimenand San Francisco
Center
lab-
oratory for
at
the Boston Film/Video
Foundation and taught
tation
at
the
w.
the
Mime Ttroupe.
The Cinematheque's Steve

|rjna
San Francisco
.HHHi
Hi
role in the bigger culture,
still
isn't
Int'l
Film Festival
Mi:\
40 Years of Cultural Radicalism

"The Cinematheque never was and
Polta, Steve Anker,
Leimbacher and thejr award from tne
at the Sar
anything that could exist as a result of a blueprint. Proft
can only be understood by people who appreciate the
art,
which means
th
But
this
was an era when taboos were very
someone would
the
to
tattle
clear,
and often
The YMCA,
authorities.
for
was very uncomfortable with the idea of underground
instance,
The
number of times, so the programmers would have a van ready, guerilla-style, to move to another
place. Incidentally, all the publicity was through word of mouth
and mailings, meaning the shows didn't get reviewed. It was truly
movies.
an
invisible,
was
it
cops showed up a
underground operation
truly a
gate, but
it
was doing
it
community
thing.
couldn't have been
at this point,
which
The filmmakers would

much, so
essentially
is
to say
split
the
everybody
intent to inspire filmmakers, or to build
an audi-
think the aim was to start a
movement
of activity around the
dissemination of independent and experimental films, encompassing documentaries and forgotten historical films and unusual
educational films.
The
idea was to encourage a broad, catholic
approach. You had a crosscurrent of mediums and
new
few,
if
possibilities
and expressions.
When
any, films by the people in attendance, in short order the
What was the balance between
local
and non-local
in
needed depending on who was passing through town. The

that
such
present the
new with
Her
the old.
what happened
to be available or
what the latest work was. To

some extent, that may reflect
the development of the loca
scene.
During
Menafee's
ting his stride as a filmmaker,
Nelson was getting

Bruce Conner and
Lawrence Jordan were productive. It may have made more
sense for Menafee to present
the films of the moment.
Robert
started,
Kramer only lasted two years herand then there were a
self,
cooks
the
in
kitchen.
to
lot of
What
change
in
did
her
Canyon screenings?
gate would partially offset the costs of renting the films, but
is
for
founder, then his successor so quickly?
Menafee continued editing Cinemanews through 1969. [After he

left,] there were no screenings for a few months until Edith
Kramer, an art history teacher, assumed the position of Canyon
Cinema manager. She's the one who dubbed the screenings
Canyon Cinematheque, and made them
more thematically oriented. That is,
she put more thought into how to
Kramer manage
Sometimes Menafee would have the program carefully planned

ahead of time, and sometimes he would plan half and fill it out
guess
its
excited
shows ended up being more and more comprised of local work.
as
losing
tenure, Bruce Baillie was hitartists
someone had a
screening of experimental films, it became a major event and
suddenly a hundred people were there. At the same time, Baillie
was making films and gathering equipment, so Canyon Cinema
also became a loose equipment-access service for aspiring young
filmmakers. Within the first year, Canyon Cinema had a monthly newsletter and a modest amount of equipment. And suddenly
people began making films. While the first screenings included
by
sense o{ history rather than around
ence of non-filmmakers?
I
Menafee only stayed two years, did that signal trouble
if
programming was structured around
for free.
Was Canyon Cinema's
So
young organization
my
Menafee spent a good amount of his own money
tenure, and what evolved after
her?
Kramer moved the screenings to the San Francisco Art

Institute theater, while
to
offices
rent films. In early 1966, in the middle of Menafee's two-year

left
the first serious inklings of a distribution arm emerged. You

had people like Robert Nelson saying, "We need something on
the West Coast comparable to the Film-makers' Co-operative on
moved
in 1969,
to
Canyon's
Sausalito.
She
and then the organi-
stay,
the East Coast."
who wanted to
November 1966
They
zation gets
who
felt
weren't bringing in
sent out surveys to the filmmakers asking
participate.
issue
catalog was published as the
of Cinemanews, with the
first
come from
inside." steve Anker
person
the
money
films.
Canyon Cinema-
official
The creatures gracing some early program
notes of Canyon, which would screen
Maya
Deren and Charlie Chaplin side by side.
Tancisco Cinematheque
by
specific to experimental film, including
One
needed would show feature

For a brief period
Canyon Co-op Catalogue appearing the following month. Bruce

Baillie consented to allow the name to encompass the Co-op,
although nobody involved in the Co-op had anything to do with
the screenings and the newsletter.
levitably
murky.
that experimental films
Michael Fox
its
July
2001
THE INDEPENDENT
39

theque became art-film oriented. Around 1973 it looked like the
Co-op might go under because the operation was run sloppily.
Diane Kitchen, a student
at the
Art
Institute,
He
hired Vincent Grenier as programmer.
stepped in and
shifted the focus
back
what was happening outthe Bay Area. That caused an uproar, so open screenings
had recently moved

was burned out.
all; I
I'd
ally,
filmmaker and board
York
each curated program. Grenier relocated to
New
and Charles Wright and Carmen Vigil were

run the program, which became even more firmly
after a year
hired to
entrenched in experimental film with a mix of local work and

stuff
made
Then Wright moved
elsewhere.
to
New
York in 1976
it
go to
the Cinematheque occasion-
side
after
San
Francisco to get away from
to experimental film, but also towards
were held
to
and then
got a call from
Nick Dorsky,
member
"We
me
saying,
need help." People warned

not to do
it.
What were some
of
your
first
steps?
and
Vigil
This
is
took over.
when
Right away
the big split happened between the Canyon Co-op and the
Cinematheque.
also
Is this
when
the nonprofit issue
was
It's
clear that the
was anything remotely
as long as there
profit- oriented
involved
way they could get nonprofit status. In the fall of

1976, Vigil dropped "Canyon" and changed the name to "The
Cinematheque" in anticipation of separating from the distribution co-op. So they split off Canyon Cinema as a for-profit filmthere was no
And
makers cooperative.
then in 1977
the
after a lengthy letter-
Cinematheque and Cinemanews were

finally granted nonprofit status as the Foundation for Art and
Cinema. I should mention that Canyon Cinema currently distributes more than 3,500 titles by some 350 artists.
writing campaign
With
some
other
world
achieved at the organizational
clarity
who
level,
shift.
You had
wave of newer
The
who
simply
I got was
open it up
and be more embracing of other approaches. There was a feeling,
especially with the punk energy of the late seventies, that there
was too much of the same thing for too long. At the same time,
many museums and magazines were viewing underground film as
as their organ.
story
that there were various attempts to convince Vigil to
a sixties thing
a thing of the past.
The mood among filmmak-
was that the Cinematheque wasn't doing enough
movement
going. Finally,
to
keep the
you had more and more objections
way the Cinematheque was
run,
namely that
through grants and support rather than because of
film news, screen-
ing announcements, commentary, and
to present programs.
thought
it
information on optical printing.
impor-
maintain a healthy
to
I didn't feel it was right for

Cinematheque to be associated only with the Art Institute.
We never were and still aren't officially connected. They are a
host to us and otherwise we are entirely separate entities.
Screenings of this kind of work should be possible in different
settings, including some that are more informal, closer to the
way they were in the earliest years. An important strain of exper-
imental film were nontraditional things.
was time to bring
It
in
other forms of independent film forms, including unusual docu-
mentaries and narratives.
My
and make experimental
attitude
was
to be as aggressive as
communities and constituen-
film as visible as possible.
it
to
survived
a real need.
How much
Except
jection booth, put
and
for a
handful of the better-known filmmakers,
know most of the local people. I

so much going on, in fact, that
didn't
learned on the job. There was
unless the Cinematheque only

showed local work, there was no way to show it all. But part of
what the board was asking was that selectivity be maintained.
That is, not everyone is equal and not everybody gets shown.
Undoubtedly there are many people out there today who feel
there could be a
the Bay
Area
the world.
And
much
there has been
that has not been true.
Area
higher percentage of local work. Listen,
one of the main centers of experimental
is
Only
no time
in
New York,
in quantity, quality,
my
film in
18 years here
in the U.S.,
when
compares to
New York is ten
and range, and
sound so stable.
There were actual guerilla activities. This was around 1981. One
famous evening, a group of people showed up, took over the pro-
on
their
own films. The board realized
called a couple of meetings
hotly debated.
know about Bay Area filmmakers, and what was your
did you
position on screening local work?
the Bay
Well, that doesn't
The board decided
where the
that Vigil
needed
community was formed
That
size.
said, in
You have
my
a concentration here that
view local work
is
incredible.
only one of the components
is
was
issues
were
to give
up a
do the rest. And the name of the

San Francisco Cinematheque.
to
organization was changed to
times the
of the overall flow.

this
part of the programming, so a newly formed group representing
the
Canyon Cinema-
of
the
what happened
cut off from the early years and
felt
Cinematheque
didn't see the
a crisis
news, which mixed
the
programming?
filmmakers
the
A July 1967 issue
around
possible, to cross over into various
Well, there was a generational
ers
sometimes
programmers from
portion of guest curators. Meanwhile,
cies
with the
invited people
places
I've always
tant
local,
scholars or
revisited?
Canyon Cinematheque screenings never

paid for themselves. Canyon made its first, unsuccessful effort to
acquire nonprofit status under Kramer by incorporating itself as
the Canyon Cinema Foundation. But Vigil quickly learned that
Yes.
sometimes
How
did you handle the shift to a
more stable
institution
with
all
the
budgets, grant proposals and other business-oriented tasks?

I
probably would not have lasted very long
if I
hadn't formed a
collaboration with filmmaker David Gerstein
{Ambi Valence)
The
shown any
organization had great promise, but hadn't
nificant growth.
To survive the Reagan
eighties,
sig-
we needed an
Did this finally solve the problems?
For a year or so the Cinematheque was kind of hip. But the board
wasn't happy.
40
They
felt it
THE INDEPENDENT
was too schizophrenic and incoherent.
July 2001
insightful administrative strategy.
Cinematheque never was and
say insightful because the
still isn't
anything that could exist
as a result of a blueprint.
Problems
specific to
role in the bigger culture,
including
its
by people
who
appreciate the
art,
experimental
film,
can only be understood
which means they inevitably
come from inside.

To make it clear to people who aren't within the community
requires someone who understands corporate and nonprofit
worlds and experimental film. You can say the same about other
arts,
but there
is
much more of a context for contemporary dance
or music or poetry. They're not popular forms, but there's a context.
had studied filmmaking, so I understood what it took to

And I had a connoisseur's appreciation
get films onto the screen.
of
it
as a living art form.
a strategy or developing
But
had no
skills in
an organization.
terms of utilizing
How has
I
Me
Kuchar {Hold
or enfant terrible Curt
small-format pioneer George
or
new
While I'm Naked) showed a
But he had never been
involved with the organization's
but the
film,
drawn from the same pool. I increased the number of shows and the number of venues, and programmed oneshots at film festivals and theaters that weren't our regular
venues. But succeeding with more diverse programming required
more aggressive outreach to potential audiences. It was critical
filmgoers were
reach out to the press, and we succeeded in getting
for us to
more consistent coverage
and even the
in the weeklies
No
feel you've
dailies.
increased awareness of the art form?
question. But what's never changed
that you're not going
is
offi-
to bring in hordes of people without a hook.

cially
They would
there was one audience pool.
when James Broughton
McDowell {Thunderer ack)
So you
Vigil.
my years
the house
fill
realized that this film-
maker, Gerstein, was probably the most devoted viewer since the
mid-1970s outside of Carmen
the audience for experimental film changed over the years?
think before
Gerstein
activities.
became
some-
Andy Warhol, when some

for the first
time in 40 years, packed the house.
thing almost un-
group of films by local people,
who
name
big
all
like
shown
of his films were restored and
new
film or
of whom have friends
are interested in their work, also packs the house.
But an experimental film from South America,
for
example, draws from the narrower pool of film students and avant-garde aficionados. That said,
an average evening now
is
higher than
it
think
was in the
seventies.
Does
it
There
come
bother you when, say, only 30 people
higher average, like doing fewer shows.

the time.
Then
But
work.
to
how you
do
that.
feel
Another stratework and bigger names.
local
You don't know
is
hit
took over,
maximum
assertively does the
wanted
to find
many
as
all
five or ten.
The
that's possible
people as possible.
the people out there
eclectically,
because
felt
it
who have never
cared
I
also
was important
maintain a connection to the local cultural

there are always people
When
who
about unusual, freaky films of whatever direction. But
programmed
dif-
and does nothing about
that one accepts marginality
under the limitations to reach

I
movies
they are going to
think there's a big difference between a season-low
and the other
it,
until the
how
about them, and
attendance of 25 or 30 and a season-low of

ference
this all
a different answer.
show
to primarily
want
don't
the screen
is
hear
ask which shows they wouldn't do
and everybody has

gy
show?
to a
are definitely strategies that could lead to a
seen
life.
this
to
You know,
kind of work
before.
an
heard of
artist
functioning as an administrator.
He
devel-
oped an organization and moved it into the larger culture in

fundraising and PR without giving anything up in terms of
integrity and belief in the art form. It was a fortunate alliance,
and he lasted for 1 1 years, during which time we developed
considerably and gained more presence locally, nationally, and
internationally.
He
provided an infrastructure that not only
allowed us to give more honorariums to

selves
modest
salaries,
artists
and pay our-
but enabled us to promote shows and
do a diversity of things. For example, in place of Cinemanews

which we phased out, and which I now have second thoughts
about
and
we began Cinematograph,
artistic
a journal of critical writings
responses to experimental films.
Is
there an ongoing legacy for the Cinematheque?
The Cinematheque
focuses
on what we think of as experimental
work, but always within the context of the larger realm of personally expressive, essentially experimental forms
genre.
At the same
time, we're a place that
on the avant-garde, perhaps the

filmmaking
and
ideals
greatest
regardless of
movement
of American
40 years. I believe the fundamental spirit

that drove Bruce Baillie to start screenings have been
idealistic energy,
marks are
primarily focused
in the last
maintained over the years. We're
an
is
flexibility
still
fueled by volunteers and
and we remain an organization whose

and a willingness to take a chance.
hall-
is a San Francisco jilm critic and journalist

and a longtime contributor to The Independent.
Michael Fox
July
2001
THE INDEPENDENT
41
A DVD authoring
on the DVD.
are used
application does not create any media
New
Papa's Got a Brand

New
low- cost, do-it
and Photoshop do
DVD
used
that.
disk.
neously a
new and
a
officially it is
HAVE A NEW
is
old product.
Although
actually
it
DVD
tinuation of the Astarte
is
Apple purchased some
products
may be more appropriate because it's on
time ago. Usually a 1.0 release
scenes
make
titles,
and even
er to
my web
they watch
pack
is
links
that
lets
DVD
on
The
disk
The opening menu with 3 buttons tor one
starts
and has menus

contains. I can make
movie
for every
it
many copies of
want and know that each one
as
can be played thousands of times and look

as
I
good
as
did the
it
first
time. If
DVD files
could send the
DVD
puter to a
from
my com-
thousands of copies made and put in pro-
innovation
doesn't
always equal independence, but the
DVD
new
production tools that
have appeared in the past few months

have the potential to change video
distri-
bution as radically as the low-cost laser

printer did publishing.
ing feature of
nature of it
DVD
The most
promis-
is
the interactive
interesting
motion graphics,
menus, and special features
interactive
can catch the attention of journalists,

tival
this
programmers ,and audiences.
same reason, though, that
duction
is
still
most people
too.
It's
fes-
for
DVD pro-
a little too technical for
to master.
And
But more and more
it's
expensive
will learn to take
advantage of these new tools and exert

their creativity in
to before,
ways they were not able
and then
Need
worked on
Mac G4 computer and some
42
AC-3
THE INDEPENDENT
Mac-only
the antithesis of
DVD
The
specification allows
and
types of audio,
still
iDVD
takes
all
DVD
2001
and
images, several
from a
menus.
is
Power
still
That Stuff on the
my
is
made
would be using and
no
single
of
list
and
about as
is
Although
used Final Cut Pro 2 to
capture, edit, and export
DVD,
that
the Quicktime
comes with
DVD
my
video for
MPEG2
encoder
Studio Pro can be
used with any Quicktime-compatible

video program. That means you can use
is
one tool
DVD author-
simply a computer
program that organizes the media,

active menus,
authoring application
useful as a projector without a film print.
Instead,
There
essential though: the

is
used three appli-
produce the
DVD.
a suite of tools to
media, design the interactivity, and physi-
is
cations: Final
all
a sketch
software program
that you use to produce a

there's
are
DVD
they
of the organizational structure of the disk.
There
DVD there
more
how
even started working
software tools
the media
make
the time spent producing a
with
on
DVD
a few differ-
standpoint what features
productive. Before
that can be included
myriad software applications you can use
effective will
watched
and content are most
DVD
Since there are different types of media
Cut Pro 2 for video capture

and editing; Photoshop for image editing
and menu creation; and Combustion for
and animation.
compositing
video
Without at least one program like these, a
and implemented. Knowing
user's
DVD recorder with
basically acts as a
to create your media.
with an eye toward
are designed
it
the "authoring" elements away
a few limited tools for creating interactive
subtitles. All of this
It's
and
images and music.
DVDs
Studio Pro
DVD authoring applica-
Before starting,
a better choice.
tion could be used just as well to share
ent
is
DVD
on
doesn't necessarily have to con-
tain video,
program
for
variety of content to be included

disk, including video,
intimidated by
feel
advanced software applications, Apple's

free
ing application. This
of the soft-
July
are
DVD video.
who
Windows. The concepts of DVD production apply no matter what the system.
cally create the disk.
costs will drop.
Tools You'll
To create my DVD,
Encoder
files,
but there are comparable products for
that
The
mention
considered generically as "media" because
fessional packaging for distribution.
lower-cost
Studio Pro
MPEG2
your editing program export
streams for your
on his DVD.
of the author's shorts
ware applications
wanted,
manufacturer and have
Technological
DVD
QuickTime
For those
tion
the disk as
how
contains.
and Subtitle Editor that

allows you to create and edit subtitle
anima-
title
the
it
compatible video, the A.Pack tool
audio
computer.
with a
also surpris-
that turns your sound into Dolby
site if
it
features
Also included in the
sub-
to connect the view-
was
stable. It
quick to learn considering
many advanced
didn't
stills,
and
ture-filled,
ingly
the final cut,
production
filled
is
DVD Studio Pro to be mature, fea-
found
with
that
that
with problems and missing features but
DVD. It has several

of my recent short
along
a con-
authoring
tor's reel. Well, 'disk'
films
simulta-
product (computer
1.0
speak for brand new)

DIREC-
(Apple
Pro
Studio
Computer, $999, Mac) which
Greg Gilpatrick
by
Cut Pro
separate applications like Final
youselfDVD production
put your project on
tools to
Reel
features into
inter-
files
that
Quicktime Pro or the

the
as
more
free iMovie, as well
professional
Premiere,
CineStream, or Avid.
"Exporting video from Final Cut Pro 2
for the
had
to
DVD
do was
was
surprisingly easy. All
select the piece of video

wanted and then export
usual
the
selected
the
as
Encoder
QuickTime
only difference
clip
that
MPEG
QuickTime
for the setting.
is
On my
for
exporting a 20-minute movie to
was brought
in
My
MPEG
source video
over FireWire from a
DVCAM VTR and

nificant difference
did not see any sig-
between the
video and the original
MPEG
DVCAM video.
Menus
on
are the basic
form of interactivity
DVD. One can
the movie or
There
be
as simple as a
can have up to 36 buttons.
it
two types of menus
are
Studio Pro:
"still
of several
still
(Photoshop
are
Studio Pro and

it)
File
Edit
Item
Windows
Matrix
tedious
is
states:
normal,
happening; selected,
the user
Help
chooses
the
button either
before activating
it
when
or
the
scrolling
cursor over
to do is create a single DVD

show on someone's DVD player, you
to
can use Apple's "SuperDrive"

drive
when
the user
tion that this
button repre-
that
just a
few disks with the SuperDrive
pretty
Pro's interface simplifies a complicated process.
Photo-
shop
layer
planned from the beginning on creat-
ing opening motion graphics that

play automatically every time
would
the disk
for
mass production, Apple recommends
the use of Digital Linear Tape (DLT) This

is
the
Once you copy
the
files
DLT, you send
it
facility
selected
selected"
much
The
potential for
to
to the manufacturing
will
convert
DVD. There
are
to a "glass
it
all
the copies
few other
options for mastering beside

special
DVD-R
form of
but most replication
or
DLT like a
DVD-RAM,
facilities
have stan-
on DLT. You should contact the

you plan on using to see what
dardized
facility
You Got the Time?

producing a VHS requires
While
more than
hitting the play
tons at the
little
and record but-
same time and takes
little
could take weeks.
Designing and producing
my
DVD with
That may sound like a lot of time to people without any background in interactive
media production, but I was actually sur-
has
it
words some depth and movement.
technology offers so
DVD
by a white box
like
authoring experience.
of your
used to create
is
DVD.
of a
40 minutes of video took about 20 hours.
"normal" state and
as the
corresponding layer
in
the
a red box, so
DVD
and they
master' that
more than
is
files
"play movie" button in white surrounded
used the 3-D compositing tools to give the

This was the most frustrating part of my
to hold
all
DVD
designed a
description of the contents, and then
whole
which
tens of gigabytes
enough
that can contain
making a well-designed and feature-rich
Photoshop file for the menu labeled "play

movie - normal". When the button is
medium
a data storage
DVD
I
used Combustion (Discreet,
Mac/Win, $3499) to make a seven- second video that showed the title and short
starts.
for
more
little
longer than the length of your media,
DVD
my
For example, for
is
that you then
Studio Pro.
boring.
I
its
own
select in
just
DVD
you want to master your
If
manufacturing, the process
repre-
is
sented by
it's
is
simple and straightforward.
Each menu
state
DVD;
from other
available
also
is
computer manufacturers. Making
media they accept.
sents.
your video on a
a combi-
it;
selects the op-
just sticking
CD-Re Writable/DVD-Recordable
nation
of your
and activated,
DVD Studio
final
Each has three

is
producing the
to
there are a few different options. If
complicated. To author a disk intended
in their design.
Designing the buttons
when nothing
and "motion
comes
it
Running
it
you want
all
cannot
when
A
made up
images from Photoshop
menus" that use video

process.
DVD
in
listed as a software require-
is
DVD
of
menus" that
imagine working without
Most well-produced DVDs begin with

some motion graphics that foreshadow
the visual tone of the disk and its content.
There's nothing technically wrong with
DVD
Menu
background picture with a button to play
ment
The Opening Shot
Getting
When
What's on the
computer
every minute of video, so
took about 30 minutes.
tion.
the video encoding process took about 1.5
minutes
with several effects to simple text anima-
wanted
I
that and
made
it
to be white text with
prised
at
how
created a layer that looks
ing because
named
eling
"play
it
movie
the
menus
for
each of
my
it's
Of
course,
Inde-
authorin lev-
field
with
many indepen-
dents are not going to have the time,
and resources
skills,
described each feature.
motion graphics.
was a time-con-
went.
DVD
distribution
movies' extra features with buttons that

It
it
one more step
just
indie
Hollywood.
separate
quickly
pendents are excited about
to create compelling
Luckily, there are
many
can be
overwhelming to design and produce. I
found myself re-designing the seven-sec-
suming process; however, adding the extra

felt
completely worthwhile
freelance motion graphics artists around
features
the country waiting for filmmakers to con-
because more than anything
tact
ond
extra features
creativity
clip
and
diversity
that
it
over and over again.
made
everything from a multi-layered composite
of footage from
my
different
movies
made
else,
the
the disk feel like a
professional production
them about work
just like this.
Greg Gilpatrick [email protected]
New
on par with some
is
York-based video filmmaker
and technology consultant.
studio offerings.
Ink
2001
THE INDEPENDENT
43
and off-Broadway
poetry,
First
Cultured Club
Belinda Baldwin
by
Cinema Group"
provides
1961 manifesto:
"We
polished,
slick
Adams
P.
Cooper Square Press, 438
$19.95
p.,
Sitney;
New
is
our
time to bring
York:
wrote
date,"
independent
to
filmmaker
Jonas Mekas in 1959 for Film Culture,
mode
merely a
unaware of the
filmic art."
ma
The
to
of diversion
poetic expression.
time, creating a
public forum for independent filmmakers
and supporters working together to

expand American cinema's potential.
What is American cinema? Can it be
other than Hollywood cinema? These are
E Adams
Sitney,
New Wave,
to
They
with "The
Formative
which includes
Thanks
to the reprinting of
time since 1970,
first
for the
we can now revisit

them to the con-
these dialogues, apply
temporary cinematic landscape, and in
come up with new insights

present state of American cin-
the process
about the
ema.
enthusiasm of a generation that thought
could change the world through cine-
it
ma.
The breakdown
camera, created the
artists to
making
the United States, pushed filmin this country into a healthy
state of re-evalution.
As Mekas put
issue,
it
the adolescent character of the
avant-garde, and
"Today the need
first
for a searching
evaluation of aesthetic standards... [has]
of Citizen Kane, casting
it
American
Sarris' analysis
an allegory
as
her
avant-garde
1959
The
felt."
New Wave
now
and poetic
Sitney's
are equally visible
editor
who wrote
and
1956,
in
as
well
as
Dimitri
"of the film

as
New Wave
medium
as a poetic vehicle,"
Walter Michel wrote in his memorial
essay to Kirsanov.
own
and drew
artifice,
its
also
includes
on the avant-garde
Stan Brakhage,
film history. Carolee
style
of film criticism overlapped
with filmmaking
mance
maker
artistist
style.
Herself a perfor-
and experimental
(Fuses, 1964-67),
film-
Schneemann
re-
views Anger's film through a stream of
American New Wave. "The New

American Cinema" details how one
branch became a semi- commercial feaover
writings
American
consciousness wordplay that mirrors the
of the
movement
Cinema
"vertical" axis.
Schneemann's 1964 review of Kenneth

Anger's Scorpio Rising shows how that
era's
for his use
distinction
should enlighten us as our
it
Kirsanov, another French director praised
by the American
famous
his interview with
artist in
a letter to the
Miller,
perhaps the most influential avant-garde
from the hugely influential French director Carl Dreyer,
Sympo-
her intellectual best as she
dreams do. This chapter
chapter, with contributions
and
"Poetry
should do more than entertain, Deren
international dimensions of the
first
gets
due in chapter
between the cinema's narrative "horizon-
thought;
but nothing has been
tends to be approached primarily as a pro-
July 2001
at
end everything has been bought and paid
ture film
THE INDEPENDENT
Deren
draws
tal"
for,
others.
Meanwhile, the
Dylan Thomas, and Parker Tyler" shows
independent director
working inside the studio system: "In the
assumed more challenging proportions

than ever before. Cinematic creation
44
Andrew
Subsequent chapters chart the history
in the magazine's
and many
sium with Maya Deren, Arthur
Mekas' infamous critique of
film art,
in this
16mm
baker, the Maysles,
its
essay
Richter's
American
of the
Wise-
Film:
and coupled with the newfound
means and desire for a non-Hollywood

American cinema. These circumstances,
combined with an international admiration for the European "new waves" and
the relocation of many European film
led by
Frederick
four.
studio system, accelerated by television
ity
movement
filmmaker Hans
on
turned into
observational
man, D.A. Fenne-
avant-garde
of the Hollywood
availabil-
approach to nonfiction cinema that even-
Jonas Mekas,
for the fate of the
The Film Culture Reader embodies the
year, in
"uncontrolled"
the
"There is no other
way of breaking the frozen
ground than through a
complete derangement of
the cinematic senses."
be-
Years, 1955-58,"
The Film Culture Reader, reissued
lauds
documentary
in-
happened
Film Culture.
who wrote more than
Cinema" of the same
he
the
chap-
five
ters.
it
through the dialogues that took place in
it
which
anthology,
organizes
cally
American
Richard Leacock's essay "For an Un-
this
gin chronologi-
the
York
Film Culture. This chapter also includes
tually
and edited
the questions that drove Mekas' genera-
called
New
Mekas and
a few influential essays for Film Culture
tion to create an off-Hollywood indepen-
Now
Film-makers' Co-op, formed in
controlled
in 1955, Film Culture
dent film movement.
color
John Cassavetes, and
in 1962 in conjunction with
from the commercial constraints
derangement of the cinematic senses."
its
don't
distributed films of this sort through the
goal was to free the cine-
native cinema of personal, political, and
Founded by Mekas
we
Robert Frank, to name a few, made and
remain
frozen ground than through a complete
was instrumental in
false,
them
significance of the
full
defined by Hollywood and create an alter-
is
want
prefer
we want them the
Shirley Clarke,
whom film-going is
no other way of breaking the
"and there
films
duction of commodities, and large sections of the public
films up
we
of blood."
still
"It
The Group's
don't
rough, unpolished, but alive;
want rosy
The Film Culture Reader, ed.
films
"The
theater.
New American
Statement of the
film's visual
rhythms. Since the films from
this period are difficult to see these days,
such writings and reviews are
that valued realism
valuable as historical
spontaneity over scripting,

influences from
jazz,
Beat
documents
to
if
all
the
more
not philosophical
American cinema's
past.
In the chapter, "The Commercial

Cinema and the Auteur Theory," we find
Andrew Sarris deceptively short but influential "Notes on the Auteur Theory.

Relax and
call
Imported from the Cahiers du Cinema

group," the auteur theory a la Sarris
vaged the Hollywood studio
sal-
director. "In
Hollywood," wrote Rudolph Arnheim
for
Film Culture in 1958, "the mechanization
and commercialization of human creativity have been carried to the most violent
consequences." Sarris countered
this per-
spective, arguing that personal expression
The
is
possible inside Hollywood.
as
opposed to the average Hollywood film
you and your budget. We have
our Free Final Cut Pro Seminars on 7/25 or 8/15. Go to www.novaworks.com to register online
or call Vicki Schwaid for more information on our Apple Final Cut Pro 2.0 bundles at
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the
mechanical and commercial
industry's
tendencies.
body of
offer expertise in selecting the best digital video solution for
an excellent service department with multimedia specialists to provide expert installation and
follow-up support. Call us to come by, have a cup of coffee and discuss DV, or attend one of
auteur,
himself despite
expresses
director,
We
He
films
imprints his style over a
and proves
in the process
that individuality can exist within
erwise assembly-line
mode
an oth-
of film produc-
tion.
On
the other hand, witness Charles
Boubtenhouse's "The Camera
as a
published in 1963: "The truth
is
God,"
that the
commercial director should be credited

with a job well done rather than wear the
dubious appellation of
take has prevailed, but
Sarris'
was highly con-
volume shows.
tested at the time as this

If
"
'artist.'
it
the Film Culture generation ardently
questioned the meaning of the cinema,
it
was because they knew that question doubled for the meaning of
man's fate within
it.
presented dramas of
narrative
modern
life
and
While Hollywood
life
in a neat linear
where every cause had
a pre-
dictable effect, every quest a final destination,
every problem a solution
Culture's writers
tions
wanted
Film
cinema of ques-
and ambivalences, one closer
to the
truth of our existence. In effect, their cin-
ema
utilized the
concepts of imperfection,
and spontaneity
realism,
oppositional, independent
movement. Their
to
create
American
an
film
politics translated into
recognizable styles and practices and cre-
ated the potential for future alternative
cinemas. Today's independent film world

is
indebted to
practice,
and
Culture Reader
theory
this past in
for
is
this
reason,
if
not in
The Film
an invaluable collection
of essays.
Belinda Baldwin [brnbl793(g >aol.com]
i
lance writer
ies
is
a free-
and a doctorate student m film studat USC working on a dissertation on

American independent film.
luK
2001
THE INDEPENDENT
45
^
have a bookkeeper who works part time.
CANADIAN FILMMAKERS'
DISTRIBUTION CENTRE
BY
LlSSA GlBBS
Where do CFMDC's operating funds come from?
CFMDC
The
Canadian
Council
Crawford,
officer
37 Hanna Avenue, (Ste. 220)

Toronto, Ontario,
festival
[email protected]
coordinator
www.cfmdc.org
is
Arts
and municipal (Toronto Arts Council), as
from the sales and rentals
The
CFMDC was
with
Canada's
largest city
Contact: Jeff Crawford
What
(Ontario
of
members'
CFMDC come
into
being?
(416) 588-0725; fax: 588-7956
&
Canada
(the
provincial
How, when, and why did
Canada M6K 1W8
distribution
Arts),
three levels of the
all
federal
films.
Canadian Filmmakers' Distribution Centre

Jeff
financed by
the
for
Council),
well as
is
government:
in
conceived
100th
Canada
world's exposition
fair.
in
1967
in
in
was
1967,
conjunction
Montreal,
birthday.
the
hosting the
With the world coming to
the Canadian Filmmakers' Distribution
Centre (CFMDC)?
The
CFMDC
tion
and
is
<
Canada's oldest artist-run organiza-
helps give underground and indepen-
it
dent filmmakers a greater profile through exhibitions.
It
also helps to generate revenue through
distribution for them.
Do you only distribute the work

Not at
lection of the
films
of
from
CFMDC
is
Australia,
title
col-
France, and of course, the United States.
What types
of
works do you distribute?
We
Everything.
specialize
in
short
Canadian experimental works and
m%m-.
films dealing with
gay and
lesbian
But
issues.
Belt.
we
tion,
documen-
tary,
drama, and
experimental
also have anima-
From Colbert's Below the
lC
largest experimental film collection
one
of the largest
world-wide.
We
in
to
feature
length.
What distinguishes you from other
distribu-
In
North America, only the Film-makers Co-op
New
46
York
is
older than us.
We
THE INDEPENDENT
definitely
July
in
have the
2001
Twisted Sheets by Chris Deacons
one
of
CFMDC's better-known
is
titles.
Canada and
Montreal and Canada to celebrate
specialize
in
its
100th birth-
the
Canada
Council for the Arts did an out-
distribution of short experimental films.
reach program to the provinces. They gave out
Who is CFMDC?
The CFMDC consists
part-timer.
tors?
day, the
works that range from 30 seconds
vlfw
Germany,
Turkey,
W" Vf *jk
we have
by Canadians, but
Japan,
Êl
Canadians?
Predominantly, the 1,600 film
all.
BI^S^B
This
experimental film
funds to the provinces, which

of three full
includes
officer;
time staff and a
Barbara
Goslawski,
Naomi McCormack, cur-
rent interim executive director;
and me. We also
money away
in
to those individuals
turn gave this
and groups that
would promote Canadian culture and heritage.

Four Toronto experimental filmmakers
among
them David Cronenbergand Lome Michaels
(exec-
Cut Fro
Final
Nonlinear Editing
Beta SP, DV, DVCAM,
S-VHS
HiS, 3/4",
Saturday Night Live)
utive producer of
CFMDC.
for a grant fo create the

to create the
CFMDC
It
applied
was necessary
New
to the explosion of exper-
due
York,
New York 10010
fathers (see above).
Best known
imental cinema
1123 Broadway, Suite &14
by the founding
People are definitely surprised
CFMDC's
titles in
www.earthvideo.net
collection:
country; therefore a "per-
in this
Wavelength by Michael Snow (experimental) and
manent home" was created
to store this
volume
of
Twisted Sheets by Chris Deacon (lesbian).
212-223-4-254-
cinema, and screenings became more accessible

for the
filmmaker and
Other films and filmmakers you distribute:
clients.
Wieland
Joyce
How many works
now
are
and
(Rat Life
Diet
North
in
your collection?
in
America); Stan Brakhage (Dog Star Man); Mike

Close to 1,600 different film
titles.
Hoolboom (Frank's Cock); Garine Torossian

Unofficial motto
Live to Give (unofficial). Give to the
the client the best service
How
we can
policies
in
works from the
plus
shipping.
full
with no policy
in
Cellophane Wrapper); and the early works

ture filmmakers such
(Girl
on a
(Variations
of fea-
^B!rYam
as Patricia Rozema, John
Greyson, Jeremy Podeswa, and Bruce McDonald.
We
place that the staff imple-
Upcoming
titles to
who wish
The Living
Room
ments. These state that clients

it
filmmaker and
possibly provide.
made
are business decisions
We have
From Moush); David Rimmer
and driving philosophy:
CFMDC must
at
CFMDC?
to exhib-
pay film rentals
Any other issue that may

effect
is
arise
decided either by the
watch
for:
by Michael Snow, which opens
with the wall completely bare, then
all
of
these
objects return from the dead with the clothes of the
standing pregnant
executive director and/or the artist-run board of the
tease.
CFMDC.
also
A new
woman, who then does
provide
broadcast
to
between distributing
media
of
in
work
Canada and
in
the
differences
fine art or experimental
distributing the
same type
the United States?
in
exhibiting the experimental
is
work
inter-
is
How
$1 75/hr.
in
your collection
$1 20/hr.
$ 85/hr.
Animation Stand
$ 85/hr.
financed?
Through the government granting agencies, private
lucky ones, through
Mom
Digital Audio
Post
$ 85/hr.
and Dad.
drives you to acquire the titles you do?
can
an open
policy.
We
refuse no one
who
&
Info.
that titles that are uniquely Canadian
asks
sometimes have a harder time
in
of the issues
may
from us provided
his or her
does not promote any hate crime.
not be understood by
It
PO Box
Tel:
How
an American audience.
about CFMDC?
for distribution
the United States

film
some
most the films
are
We have
since
Transfer
coming out soon.
What
is
at
discount rates.
or not,
regardless of country of origin. The only item

think of
video
services
a strip-
feature film from Mike Hoolboom
foundations, filmmakers' credit cards, and, for the
Not much, to be honest. Either the client

ested
quality
post-production
Film to Tape
How would you describe
and
artists
is
is
your collection organized?

organized
though
form:
184 NY,
NY 10012-0004
212.219.0951
Fax: 212.219.0563
experimental,
to learn
drama/narrative, documentary, animation.
We
do
have separate catalogues from the main one such
July
2001
THE INDEPENDENT
47
ffiSSSBEE^)
as a gay/lesbian catalogue and a catalogue of films

made
women
by
only.

It
marketed through
are
THE EDIT CENTER
depends on the
really
a professional editor by working
on a
Experimental works
cinematheques
various
worldwide and other clients who are friendly

type of cinema, queer
real feature film in
Where do CFMDC
Anywhere
universities

titles
to this
the lesbian and gay
titles to
and so
film festival circuit,
Become
to releasing a title?
film.
on.
generally show?
from broadcasters to film festivals to

repertory
to
theaters
community
to
centers on a world-wide range.
How do educators and community members

about the
find out
Canon
Motorola walkies-StarTacs
XL-1
3/4"
HHB SQN
After Effects 5
We
Cut Pro
Matrox
id.
Sony PD1 50/1 00
Beta decks
Denecke
Nextels
Mackie Quicktime
announce
which
and
by word-of-mouth. Our
web
includes
our catalogue
has
also
helped considerably.
Describe your relationship with the makers you

represent:
Green screen
jmbustion
Pinnacle
rmera
Canon GL-1
DigiBeta MiniDV
Boris
Century Precision
Red
MPEG-2
Pagers
Lipstick
Nagras
Discreet edit*
cameras
Digital
Once revenue
CFMDC
Cobra Cranes
Sony VX2000
Bogen tripods
'HS decks
lustrator 9.0
Neumann
site
titles
to our clients
to the collection
Photoshop 6
>ennheiser
Comteks
you handle?
announcing recent additions

also
Final
titles
send out an e-mail press release
still
generated through distribution, a
is
"account"
is
set up for the filmmaker.
Most
of
the filmmakers
CFMDC. We never see some
absent from the
are
of
them. This
is
due
to
the fact that once a filmmaker has finished a film,
he or she hands
it
over to a distributor while the
filmmaker starts working on a new production.

Biggest change at
CFMDC
in
recent years:
DVCAM
Cuts to our grants from the province
cameras
Because we have
Lectrosonics
We
release the royalties to the filmmakers twice a year.
Ontario, artists
of Ontario.
a conservative party in control of
and
artist organizations
have seen
grants to the arts cut dramatically over the past six
\-\Gl\o
cro
World
r~ia i_i i1
118 West 22nd

212 243-8800
:.î"t
z> r~i
Street
MYC
@hwc.tv
years.
Most important issue facing
grant,
In
we now have
bly
with
85 years
is
distributor,
Ifyour new work
is
and other
institutions
worldwide.
more revenue than
CFMDC
be 10 years from now?
location with a collection that will proba-
exceed 2,000
titles.
del
Valle
at
Frameline Distribution
Francisco (she's pretty
much
in
San
one-woman show
and does a great job) and the Film-makers' Co-op
New
York
(CFMDC
is
based on
their
co-op struc-
ture).
Lissa Gibbs
to generate
Other distributors which you admire
in
call.
will
new
Desi
today:
ever through distribution.
Where
CFMDC
Financing. Because of the cuts to our provincial
is
to
The
Independent and former Film Arts Foundation

Fest director
510-643-2788
[email protected]
48
THE INDEPENDENT
July
2001
Our awards support

Director of Programs
Pam
Wolkoff
and
(I)
1040 Lincoln
Angie Kim organize the
formance,
Pasadena, CA 91103; (800) 303-2139;
Artists
of applica-
fax: (626)
744-9256;
www.flintridgefoundation.org
Flintridge Foundation's
Awards
biennial
Contacts:
for
Pam
Wolkoff,
of
Dir.
fine arts
in
and
and per-
addition to the disciplines you mention.
may use
video and film as elements of sculp-
may
extend their
artistic
explorations into single-channel media periodically
Programs,
throughout their careers The program doesn't sup-
Angie Kim, Program Associate
Visual Artists program.
in
ture or installations, or they
tions submitted to
working
glass, fiber, multimedia installation,
ics,
Ave., Ste. 100,
artists
which could include jewelry, ceram-
crafts media,
for Visual Artists
Program Associate
hundreds
Awards
Flintridge Foundation
port artists
who work
primarily
in
and video as
film
a single-channel medium.
FLINTRIDGE
Can you elaborate on the type

media work which would
in
FOUNDATION
Michelle Coe
by
your Visual Artists guidelines?
Most
is
of
with-
fall
of the
media work that we see
incorporated into installations or
sculpture. For instance,
Chartres
in
Bleu (1986-1997), Paul Kos uses 27

monitors to create a video stained-
window where each "pane"
glass
an image from a window
^Fltntndge Foundation
in
is
Chartres
cathedral. The light of a single day
transpires
Room
Lynn Hershman's interactive sculpture A
of One's
Own
turns the
in
12
minutes.
video
Suzanne Lacy uses video
in
work
voyeuristic tables by inserting the viewer's eyes into the piece.
What
the Flintridge Foundation?
is
Flintridge
in
Foundation
is
grants
in
1986 and established the Awards
for Visual Artists in 1997.
$1.7
annually)
million
Our grantmaking (nearly

concentrated
is
areas: Visual Arts (through the
program),
Artists
Community
and
is
directed to a
Flintridge
and
honor the contributions
of
California,
and work
in
particular
Foundation Awards
who
mature visual
artists
and
Oregon,
Washington.
and promote just
creativity,
and cooperative partnerships so that human
may
beings
evolve more effectively toward whole-
come
into being?
Francis and Louisa Moseley
in
Who makes up
a class of pregnant
and out
and parent-
of that experience created
nine-member
Flintridge
of
directors
and meets three times a
five of the
of the
board
members
installation of a giant crib.
Douglas
Hall often
an installation with sculptural and electronic ele-
the Flintridge Foundation?
governs
ments. Lynn Hershman has been exploring new
year. Currently,
are children or grandchildren
founders. Nonfamily
members who
serve on
the board are selected because they have special
and interests that
relate to the foundation's
programs. At this time, 10 full-time staff
members
who had numerous

in
manage
the fields of air
communications
the finances, and conduct
activities.
What are the awards program areas?

There
only one
is
Awards
awards program
for Visual Artists.
the Flintridge
The foundation also gives
grants to small- to mid-sized ensemble theater
companies
a watercolorist
who
exhibited frequently
The Moseleys' four children formed the
the
in
initial
board of directors, and Flintridge reflects their collective cultural
and community interests and envi-
ronmental concerns. The core vision
commitment
in all
of the
to nurture the
human endeavors,
that characterized the lives of Francis
founda-
independent
and
to
Pacific
to nourish individualism,
California, Oregon,
Northwest,
and
development assistance
profit organizations that
in
and Washington
provides
to
in
the
organizational
community-based non-
and Louisa
Foundation
honor diversity
in
is
society
technologies since the 1970s, and
works incorporating
tive,
digital tools
many
of her
have been interac-
such as the videodisc Lorna (1979) or
of One's
Room
Own (mi).
serve children and youth
What percentage
Northwest Pasadena and Altadena.
of
your budget goes
to indi-
vidual visual artists?
Your Visual Artist Awards go
primarily to
painters, printmakers, sculptors,
and photog-
raphers.
of the Flintridge
in
environmental conservation groups
a conviction
Moseley.
The mission
residence at the
incorporates video as projections on walls within
navigation and machine control. Louisa Moseley
creative voice
in
an
was
weeks with
ing teenagers,
1992
San Francisco. She worked
ness and the natural environment toward sustain-
four programs,
1985. The Moseleys
patents to his credit, particularly
is
for six
in
in
of
Southern California. Francis Moseley was
an inventor and industrialist
tion
Street Projects
implement the board's decisions, administer the
The foundation was created through the estates
area.
Capp
project she
ability.
skills
How, when and why did the foundation
lived in
and nature, support
for Visual
Conservation,
Theater,
The biennial
live
four
in
Services. Each of these programs has
specific focus
region.
Awards
created
based
a family foundation
Pasadena, California. The foundation awarded
its first
called Expectations, a
In
what ways do
qualify for your
film
programs?
and video
The Visual Arts program receives 22.5 percent
of the
foundation's annual budget of nearly $1.7 million.
artists
What
is
the average size of a grant?
The Awards
July
for Visual
2001
Artists grant
is
$25,000.
THE INDEPENDENT
49
Burden, Nancy Rubins, Betye Saar, David Ireland,
Grants to ensemble theater companies and con-
Larry
$5,000-
trom
range
organizations
servation
$30,000.
How many
the total
is
The Awards
amount
dollar
The deadline
Twelve awards ot $25,000 each are given out every
was
$300,000
for a total of
visual artist applications
in April
do you get
will
received more than 1,000 applications for the
applicants
age
of
cycle
be announced
in
2003.
in
available. Artists should mail
is
(name, address, tele-
phone and fax numbers, email address)
Approximately one out of 85
cycle.
will
be happy to notify artists when the 2003
contact information
their
2001-2002
and the winners
application form
on average per year?
We
program.
2001/2002
for entries for our
October. Our next application cycle begins
biennially.
We
How many
and Suzanne Lacy,
for Visual Artists is a biennial
awarded annually?
two years
Hall,
others.
awards are given out
visual artist
per year? What
Douglas
Sultan,
among
email us
at:
to us or
[email protected]
receive an award, a small percent-
will
Who makes award
which incorporate media.
name
decisions? Can you
past panelists?
Do the awards have designated use
pro-
(i.e.,
Two independent panels
duction of projects, general living expenses,

From
etc.)?
Al
Wong's video
the
which
stipulation,
also an IRS requirement,
is
awardee submit
a final report on
how
is
the
the
ties;
artists.
of grants
majority
Filling this
gap
(e.g.,
choice, and
life
we honor
Making
art is
the artist's choice and
geographic region, ethnicity,

through
life
medium,
to creativity.
restrictions on applicants' qualifia
cations
focus on emerging
nicely with our values,
fit
mitment and dedication
What are the
awardees,
California
the
other,
the
Oregon/Washington awardees. Previous panelists
because the foundation values the long-term com-
funds were used.
art profes-
One panel chooses
installation Three Pines.
No, the award funds carry no restrictions. Our only
that each
and
of artists
sionals select the awardees.
include:
Anne
Ayres, director of exhibitions, Otis
College of Art and Design, Los Angeles;
Rascon,
director,
Terrain
Armando
San Francisco;
Gallery,
Jake Seniuk, artist/executive director, Port Angeles

Fine
Arts
Center,
Port
Angeles;
Tremblay,
Gail
pro-
our
etc.)
gram.
must
Applicants
live
Oregon,
California,
in
Washington at least nine months per
or
year, for the
last three years to the
present. Six artists from
and
from Oregon/Washington
California
six artists
are selected by two separate regional panels of art

professionals.
The
base the awards
panelists
Are there time-frame

within
restrictions
which the award must

be used?
No, but the final report
and
requested at the end of
maturity of the applicant's work as demonstrated
the second grant year
selection on the criteria of high artistic merit
by the visual documentation submitted
(i.e.,
slides
and videotape). The awards are intended

encourage
artists
who have
renown
national exposure or
to
broad
not received
requires
describe
artists
to
how they used
the funds.
accomplish-
for their
Is
correct
it
to
ments. There are no quotas regarding visual arts
assume your awards

mediums,
disciplines,
or
Artists
styles.
artistic
are a
working
in
fine arts,
crafts media,
once-in-a-life-
artist/professor,
performance,
time opportunity?
and media work that
is
based
Yes.
pendent film and video are not
How do you
An
individual
is
Yes. In fact,
we encourage
based on the
can be
of a dis-
identified in the
work dating back 20-plus years. The
jectory of this
skills,
tra-
work must show the deepening

and
creativity
through the
of
artists'
Name some
as the
change each
cycle.
of the
better-known artists you
candidates do not have a high level
nition for their
to
noticed
that
in
the
visual
arts
encourage
artists
who have
not
muse-
2001
and con-
What are the most common mistakes
Not following the directions. Since

slides to the panelists
field,
of increasing
exposure or creating renown.
appli-
cants make?
monographs, acclaimed national grants, or other
means
July
Pam
ums, who have not received well-distributed
have many grant opportuni-
THE INDEPENDENT
are the Program Officers?

Wolkoff, director of programs, arts,
arts.
With that said, our past recipients include Chris
50
Who
of recog-
did Flintridge decide to fund this level of
artists did not
about three days and arrive
accomplishments; the awards are
artists in particular?
mature
for
award decisions by consensus.
servation and Angie Kim, program associate, fine
received solo exhibitions at major national
Flintridge
University,
us about your review process.
The panelists meet

at the
paths of some of those projects?

Ideal
State
founder, Blue Sky Gallery, Portland.
Tell
artists to re-apply
have funded. What have been the exhibition
intended
lines of investigation.
Why
denied?
continued
level of serious
and the development
tinctive artistic voice that
ideas,
if
define a "mature artist"?
artistic exploration
artists'
receive an award only once.
Can applicants re-apply
eligible.
selection panels
Maturity
may
and inde-
ditions are eligible. But dance, theater,
Evergreen
Olympia; and Christopher Rauschenberg, artist/co-
the visual arts tra-
in
it
really helps
when
in
we show 20,000
the course of a few days,
the artists have followed the
directions about putting their slides
in
chronologi-
15,000 slides
the dark,
in
CALL US!
has to read information on
cal order. Since staff
and
slide scripts are typed
when
really helps
it
the
umall
classes & tutorials
legible.
1-800-431-2050 ext 121

media
for
artists in
Artists should pick slides

projector.
view them
And they should put themselves
too.
in
these slides? What impact would
my work? Does my
who does
Foundation's criteria
and
meet
application
does
creativity,
show
it
and
know
not
evident?"
[212] 431-1130
596 Broadway
its
fihrtVfr*-
founders?
of our
to learn
about the Flintridge Foundation and/or
program areas. Several
That Flintridge values creativity and seeks
Program
a deepening of
of our
Flintridge
the maturity of
is
in
my
these slides have on someone
ideas, skills,
Media
choose
the best slides to represent
work read well
Relations
has been a leading
best work? Does the
the position of the panelists and ask, "Did
my work
Human
and then preview them by
possible, they should ask a friend to
If
in
it
board
in
harvestw
mom
each
mem-
Suite
602 inSoHo
,m5ô.
bers are practicing visual artists, so they have a

41
profound respect for and very personal understanding of
what
means
it
800-431-2050
to
pursue artmaking as a
life
www.hrmvideo.com
choice.
We
10549
Fax:914-244-0485
Digital
and a theater
on our board.
artist
What distinguishes
Flintridge
from other fun-
ders?
Flintridge
is
one
few private funders making
of the
grants to individuals.
When we
started the program,
there were about 30 foundations

individual
artist
in
is still
one
of the
few private
cation system, instead of a nominations process.
ETl3
Other foundations or grantmaking organizations
for truly creative
in
mm
Los Angeles. They allow
approaches
to
last
rare.
words:
Artists don't realize
how powerful
their opinions are,
^^^^^
but the Flintridge board listens carefully to artists
and considers
their thoughts
artist
advisory
group
school
Mi
new media
IL
film
B^^^B
writing
about how we can
improve our programs. That's one reason
an
film
L-B
grantmaking, and
they have wonderful programs that allow people to
dream, and that's
education
r^B Vancouver
you admire and why.

The Durfee Foundation
^^|
foundations that offers an open, democratic appli-
(Norie
Sato,
we have
/yw\c\1
i jR^r^jir
the country with
programs. Although this number
has grown, Flintridge
Famous
Media Arts Center
[email protected]
also have an architect, a film producer,
acting
pp
^P^^B
James
animation
Lavadour, Ann Chamberlain) to help us. Very few

artists contact Flintridge to tell
us what they think
about our awards program, but when they do we

often learn something
rate into future
new
that
we might
incorpo-
program decisions.
* k *
La
l$&
WT>
J
Michelle Coe
Is
1.800.661.4101
if^^B
604.685.5808
www.vfs.com
July
200]
THE INDEPENDENT
51
Scott Castle
by
America, and Europe. Filmmakers

pate
Awards: Public Award
color.
festival
residence partici-
in
panel discussions. Cats: feature,
in
Formats:
for a film directed by a
16mm, 35mm. Preview
CADFF, 535 Cathedral Park Way, Ste. 14B,
10025; (212) 864-1760;
for
oct. issue).
DAMAH FILM
Oct. 11-18, TX. Deadline: July
Fest
(final).
of the creative
dedicated to the writer
is
process of filmmaking &
uncovers outstanding, emerging writers, fostering their
development through
workshops & master
panels,
classes conducted by professionals. Cats: narrative features, shorts, student shorts.
& student
Awards: $1,000 (feature),
short), airfare
& accommodations
AFF Bronze Award & special LA screening
of the winning films for industry professionals. Formats:
35mm, 16mm,
$50
(early);
DV.
(final).
Contact: AFF, 1604 Nueces, Austin,
TX 78701; (800) 310-FEST;
fax:
(512) 478-6205; austin-
[email protected]; www.austinfilmfestival.com
Nov. 2-3, CA. Deadline: July 15. 5th annual fest
is
open
age and under. Cats: ages 10
to
young people 18 years
&
under; ages 11-13; ages 14-18. Awards range from
of
16mm,
$5,000. Formats:
to
S-VHS, VHS, Hi-8, 3/4", super
VHS. Contact: BNCFF, 1551

Los Angeles,
S.
Beta SR
No entry
8.
digital video,
fee.
Preview on
Robertson Blvd. #103-B,
CA 90035; (877) KID-FILM; www.childrens
NY
Deadline: July 25 (early); Aug. 10
of fest is to exhibit
work by &
for
a comfortable, politic-free environment.
"Send us your piece &
&
shorts
Awards
Formats:
all
s.a.s.e.
for
(early);
$35
festdir.,
we
think
in
other words,
In
doc,
Cats:
experimental,
video. Fest panel incl. film-
humanitarians,
incl.
(final).
filmmakers
it's cool, it's in."
narrative,
& music
makers, teachers,
writers.
if
feature-length
video, animation
Bolex, film
&
actors,
rappers
&
other unique prizes.
formats accepted. Preview on VHS
(incl.
return).
Contact: BIBFF, Alexander Berberich,
(final).
New
Box 1285,
Rochelle,
NY 10802; (914) 636-
3633; fax: 637-7723; [email protected]
COLOSSAL FILM CRAWL,
Sept.
and
living in
South Carolina, North Carolina, Georgia,
Florida. Films
&
Genres accepted.
videos must be 30 min. or less.
Cats
narrative,
incl.
shorts, feature, animation, doc,
VHS.
Formats:
SC 29205; (803) 765-0707
x.
All
experimental,
music video. Preview on
35mm, 16mm, VHS.
Contact: CFC, c/o Free Times,
Formats:
35mm, 16mm,
Entry fee:
$30
3105
Entry fee:
Divine
St.,
$15.
Columbia,
29
FESTIVAL,
Nov. 23-Dec. 9, NY. Deadline: Aug. 31. Noncompetitive

fest presents films that depict
52
human
experience of peo-
over the world. Over 40 features, shorts,
docs screened from
shorts
in
separately).
Preview on VHS or DVD.
1/2".
$50
awarded
Prizes
judged
(features); student discount
Contact: ESFF, Box 1313, Saratoga Springs,
NY
580-2328; empire
fax: (518)
showcase & awards event that
a short film
awards & filmmaking workshops. Cats
ings,
experimental, drama, dance, doc

incl.
up
one "Best of"
film for
& an
Favorite
comedy,
& web-cinema. Awards
each time length (up
5 min.; up to 15 min.; up to
to
screen-
incl.
incl.
30
60
to
min.),
sec.;
Audience
Show." Formats: MmiDV,
overall "Best of
Betacam, S-8, 16mm, 35mm, DigiBeta, Hi-8, HD. Preview

on VHS. Entry
$35. Contact: DFR 910 Calle Negocio,
fee:
San Clemente, CA 92673; (949) 361-6030;
Ste. 160,
fax:
284-5949; www.damah.com
Jan. 11-12, 18-19,
Deadline: Aug. 15. This touring fest

int'l
dance
in
of
is
shorts and
Africa, the Caribbean, North
THE INDEPENDENT
&
ing filmmakers
doc, short.
&
indie
foreign features,
July 2001
& South
docs &
dedicated to highlighting the work of emerg-
is
films w/out U.S. distrib. Cats: feature,
Awards
16mm. Preview
& Audience
35mm,
Award. Formats:
on VHS. Entry fees: $40 (feature, doc);
$25
(short);
Best Short, Best Doc, Best Direc-
incl.
Special Jury Prize
1314
(student). Contact: FLIFF,
Las
E.
Olas Blvd.
#007,
9898;
760-9099; [email protected]; www.fliff.com
Fort Lauderdale, FL
33301; (954) 760-
NY
fax:
the oldest annual
Co-
world.
OORAY FOR OLYWOOD
incl.
When
TheCa
exhibits,
Theater
workshops,
Olympia,
shows
Cats: experimen-
a 6.8 earthquake shook
Washington a few months back, the
in
live
performances.
tal,
Sept 30 (student). 16th annual competitive fest
showcases over 100
tor,
Sept.
Cen-
fest
photo
(final);
(early);
film/video
the
Lincoln
ter,
17-Nov. 11, FL. Deadline: Aug.
$30
DANCE ON CAMERA FESTIVAL,
event
FORT LAUDERDALE INTERNATIONAL FILM FESTIVAL

Oct.
WA
epicenter
off its
local pride.
was
Olympia, the
in
and the Capitol
state's capital,
anima-
doc,
tion, narrative
home
Theater,
&
of the
Olympia
Film Festival, sustained quake
cash
damage
that took
weeks
to repair.
prize for "Best of
But that rubble
For-
Festival."
memory by
35mm,
mats:
16mm,
3/4",
will
be a distant
the time the 18
festival rolls
tn
annual
around. Run by the
Beta SR Preview
on
VHS.
$30.
fee:
tact:
Entry
Olympia Film Society, a 20-year-old
Con-
organization with over 1,500
DOCF Dance
Films Association,
W. 21st
York,
(212)
St.,
Inc.,
48
premieres, classic screenings, an all-night horror movie
#907, New
NY 10010;
tel/fax:
727-0764;
dfa5@
marathon, and "Projectionists Gone Mad"

night, free event
stream out of the booth
See
EARTH VISION: SANTA
CRUZ ENVIRONMENTAL
is
where
clips
chosen from
an
all-
festival films
www.dance
juno.com;
30. Fest
mem-
bers, the festival boasts Northwest
in
a random, uninterrupted flow.
listing (opposite page).
Nov. 10-13. Deadline: Aug.
GREATER SAN DIEGO BEACH CITIES FILM FESTIVAL,
a competition featuring productions about the
Nov. 8-11, CA. Deadlines: July 15; Aug. 15; Sept. 15.
earth
& honoring
the people
who make them. Cats
incl.
Inaugural
Forests; Alternative Energy
&
Vehicles; Pollution
&
fest,
sponsored
by the
Independent Film
Global
Society, will include competitively selected premieres of
Warming; Farming, Pesticides &
Soils;
Water
Quality,
Watersheds & Oceans; Endangered Species & Habitats;
domestic & foreign-language films. Fest

films across America
in
will
historic theaters
Environmental Sustainability; and the Environment &
CONTEMPORARY AFRICAN DIASPORA FILM
all
(shorts);
incl.
a wide range of forms
in
Cats:
ple of color
&
(features
State
N.Y.
NY.
4,
video fest
and always surprising" Fest
filmsassn.org
13, SC. Deadine: July
20. 5th annual fest accepts works by film- and video-
makers
cat
12866; (212) 802-4679;
Awards.-
BEYOND INTERNATIONAL BORDERS FILM FESTIVAL,

Purpose
each
&
Island. Cats: narrative, doc,
animation. Awards:
experimental,
12-Nov
Oct.
indie film
Albany & on tour of
in
& Long
Rochester, Ithaca
avail.
performance.
filmfest.org
Sept. 9-10,
reaches thousands
int'l
FESTIVAL, Oct. 10-11, WA. Deadline: Aug.
sponsored by Film Society
BACKYARD NATIONAL CHILDREN'S FILM FESTIVAL,
$500
Deadline: Aug. 15. 6th annual
Inaugural fest seeks submissions of short films that
1.
is
AUSTIN FILM FESTIVAL,
to attend AFF,
EMPIRE STATE FILM FESTIVAL,
[email protected]; www.empirefilm.com
Domestic
(short
NY
York,
africanfilm.com; www.africanfilm.com/festival
beautiful, tragic, redemptive,
$500
New
316-6020; ArtMattan
fax:
"capture spiritual experiences
[email protected]
15 (early); Aug. 15
of
include
as the heart
woman
on VHS. Contact:
to cover date (aug.
doc.
short,
Social Justice. Awards: winners receive a trophy
plimentary lodging
in
& com-
Santa Cruz. Formats: S-VHS, 1/2".
EV,
816
feature,
Audience Choice & Jury
35mm, 16mm,
CA 95060;
animation,
Circle.
nationwide.
Awards
doc.
incl.
Preview on VHS. Formats:
video, digital. Entry fees:
$40/$50/$60,
Pacific
features
Ave., Santa Cruz,
short,
also screen
(831) 425-8848; fax:
(depending
on
respective
deadline);
425-
$20/$25/$30,
shorts.
Contact:
3958; www.communitytv.org
Independent Film Society,
Ste. 285.
GSDBCFF,
c/o
9663 Santa Monica
(^
CA 92010;
Blvd., Beverly Hills,
(760) 942-5988; indiefilm
independent filmmakers while
film projects developed by
creating opportunities through education and awareness
[email protected]; www.independentfilmsociety.com
for
students pursuing a career
feature, short, doc, animation.

HI.
Deadline: Aug. 6. 21st annual test
America & the Pacific region through the pre-
w/
shorts dealing
Award,
Spirit
islands to over 55,000 people. Fest
$15
Joe
416
98501; (360)
[email protected];
www.olywa.net/ofs
is
Awards: Golden Maile Award
12-16,
Sept,
PA.
$25
$10 (screenplays). Contact:
(shorts),
seeks documentary submissions for 2nd annual event
601 Elkcam
Circle, B-6,
Marco
Island,
the
642-FEST (3378);
(941)
which supports the doc
tradition by elevating
doc mak-
who produce works
of social significance
&
394-1736;
fax:
ers
www.marcoislandfilm
[email protected];
short, animation.
943-9100;
fax:
OFF,
others),
Formats:
Cats: feature, doc,
event.
WA
SE, Ste. 208, Olympia,
St.
(all
Deadline: July 15 (for Independent readers only). Fest
FL 34146;
only statewide film
Humanitarian Award.
Beta. Preview on VHS. Entry fees:
MIFF, Box 2002,
U.S.'s
Contact:
PENNSYLVANIA FILM FESTIVAL,
16mm, 35mm,
(features);
six
754-6670;
relevant
subject matter. Last year, test presented over 100 films
across
Washington
postage for return).
CINE-X) or Sean Savage
among peoples
Esvang
&
the film industry. Cats:
Achievement Award, Scarlett Award, John
Lifetime
sentation of features, docs
(for
dedicated to
is
promoting cross-cultural understanding

of Asia, N.
Denardo
Awards: Audience Award,
in
HAWAII INTERNATIONAL FILM FESTIVAL, Nov. 2-11,
$10
fee:
\LJ'.L*S
for fea-
merit. Fest incl.
artistic
workshops, panel discussions & screen-
fest.com/
&
tures
docs; Audience Award; Cinematography Award;
& Videomaker Award.
Hawaii
Film
35mm,
Beta
3/4".
SR
Secam). Entry
Honolulu,
VHS (NTSC/PAL/
Preview on
fee: $35. Contact: HIFF,
Coordinator, 1001 Bishop
96813;
HI
(808) 528-3456
752-8193
Le, Film
(within
U.S.);
fax:
(int'l);
Anderson
Pacific Tower, Ste. 745,
St.,
(800)
16mm,
Formats:
Sept. 8, FL. Deadline: Aug. 3. Fest

local
filmmakers
&
Space
The
at promoting
commu-
local interest in film. Several
have pledged
nity organizations
aimed
is
FESTIVAL,
their support including
Filmmakers,
Coast
FMPTA,
Inc.,
and
Award & cash
SP Preview on VHS.
video, Beta
Bank Towers, 321 Spruce
PFF,
963-0524;
(570)
Deadline: Aug. 22. Founded
HOLLYWOOD BLACK FILM
FESTIVAL,
fest brings the
work
accomplished & aspiring Black
of
&
stream Hollywood community
2000, a toy camera
S. California
film-going
NEW YORK
animation & student films for
tions
competitive program as
its
filmmakers outside
is
open
Black
to
of the continental U.S. Fest also pre-
& an
sents Storyteller Competition for screenwriters
program screening out-of-competition the-
premieres by Black filmmakers. Formats:
35mm,
DigiBeta, Beta. Preview on VHS. Entry fees:
(early);
$35
$25
Contact: HBFF, 1620 Centinela Ave.,
(final).
CA 90302; (310) 348-3942;
204, Inglewood,
fax:
348-3949; [email protected]; www.hbff.org
wide range
LOVECRAFT FILM FESTIVAL,
19-21,
compe-
media, from "low budget producextravaganzas."
Receives
1,300
ceremo-
at
ny attended by 900. Multi-image/business theater pro-
ductions must be submitted with
Cats
Industrials,
incl.
Trophy;
Gold,
Award "Best
& Bronze
Silver
Slides,
of
World Medals, Finalist
Certificates of Recognition. Formats: 3/4", 1/2". Preview
on VHS.
$125-$275. Contact: New York
Entry fees:
780 King
St,
Chappaqua, NY 10514; (914)
238-5040;
fax:
by
1.
Purpose
of fest is to
[email protected];
OR.
of H.
R Lovecraft through cinematic adaptations
amateur and professional filmmakers."
Organizers hope fest
will
further goal of H. R Lovecraft
being taken seriously as a writer
adapted
fully
to film.
&
his
work more
Formats: 1/2", Beta, DV,
16mm, 35mm. Preview on VHS. No
282-3155;
8mm,
entry fee. Contact:
HPLFF, Beyond Books, Box 8521, Portland,
(503)
faith-
OR 97207
[email protected]
NORTHWEST FILM AND VIDEO

OR. Deadline: Aug.
ing
Fest
1.
is
FESTIVAL, Nov 2-10,
juried survey of
new mov-
image arts by independent Northwest film- & video-
makers. Fest screens approx. 30-35 shorts, features

docs. After
NW"
of the
10-15 shorts are chosen
initial fest,
for
"Best
outstanding indie work to receive public recognition,

ical
&
touring program. Event provides a forum for
&
appraisal, and an engaged
residents of OR,
LONG BEACH INTERNATIONAL FILM FESTIVAL,
genres from permanent
in all
WA, MT,
ID,
AK &
Columbia,
British
Sept.
&
tions, digital
incl. film
&
req.. Cats:
feature,
doc,
screenplay competi-
35mm,
production services. Formats: super
in
3/4",
16mm,
1/2".
NWFVF, Thomas
Grand
Prize,
Screenwriter Award;
Audience Award;
Formats:
on
VHS.
(screenplay)
35mm, 16mm,
Entry
Ave., Portland,
NW
Film Center,
OR 97205;
fee:
(shorts)
1st,
Mini-DV, Beta
$50.
Grand
2nd,
3rd
SR DVD. Preview
Contact:
LBIFF,
Tim
shorts.
938-9687;
[email protected]; www.longbeachfilmfestival.com
MARCO ISLAND FILM
Oct.
11-15,
Oct.
12-21, WA. Deadline:
now accepting
in
int'l,
indie, classic
CINE-X competition
&
is
fringe features,
two programs
CINE-X winners have received
showcases & promotes
BANGKOK FILM FESTIVAL,
16-25,
Nov.
Thailand.
Deadline: Sept. 15. Premiere discovery film fest of Asia
accepts
opening and closing galas, panel
& underground
discussions
docs and underground
shorts, features,
int'l
films. Fest will host
edge films
film program.
encouraged
are
for
Low-budget,
submission.
Awards. Formats:
35mm, 16mm,
(NTSC & PAL) & enclose
&
No entry
stills.
Director, 4
Preview VHS
Contact:
fee.
Brian
BFF,
Bennett,
Sukhumvit Soi 43, Bangkok 10110. Thailand;
Oil 66 2 259 3112;
tel:
video.
director's filmography, synopsis
fax:
66 2 259 2987; film
nationgroup.com
JAMERICAN FILM AND MUSIC FESTIVAL: CINEMA INNA

YARD!,
31-Nov.
Oct.
Jamaica, Deadline: Aug. 31. Fest
4,
intends to celebrate the work of filmmakers from the
& worldwide and

examples
"actively support
cinematic work
of
home elsewhere."
Cats: short (less
than
50
min.),
feature
(narrative
(short), experimental (short),
SR
1/2".
&
animation
doc),
music video. Formats: Beta
Preview on VHS. Entry fees: $35 (shorts & music
$40
(features). Contact:
Blvd.,
#709
JFMR
Island Girl Prods.,
W. Hollywood. CA. 90069;
16mm, super
8,
www.jamencanfilm fest.com
20
docs &
MANNHEIM-HEIDELBERG INTERNATIONAL FILM FESTIVAL, Nov. 8-17, Germany. Deadline: Aug. 25; July 31
(Mannheim Meetings). Founded

est
in
German
fest.
1952. this
Well-known forum
is
for
newcomers.
stock from
Formats:
for indies
the
board
film
in
2nd
old-
of experi-
FL.
Kodak & postproduction support.

Deadline: July 15. Annual fest
entries. For
Olympia Film Society has been presenting the
mental shorts. Cats: feature, doc, short. Awards:

past,
FESTIVAL,
Foreign
9000 Sunset
294-0874; www.nwfilm.org
Aug. 17. 18th annual fest

yrs. the
finest
fax:
306-7330;
(310)
Beach, CA 90815;
938-9687;
fax:
OLYMPIA FILM FESTIVAL,
Swanson/Darrin Plant, 2005 Palo Verde, #309, Long

(562)
2427 1/2 Glyndon
Prod.,
90291;
(503)
Prize,
place.
CA
PXL.
www.rowan.edu/~cassidy/pixel/index.html
videos);
Audience Award, Cinematography
221-1156;
Award,
Phillipson,
competitions. Awards: (fea-
1219 Southwest Park

tures)
They Glass
Venice,
1/2",
8,
$20 Canada).
for return shipping costs per entry,
Contact:
& screenplay
Fialka, Clap Off
Ave.,
that might not find a
Preview on VHS. No entry fee
Long Beach film history program & an awards gala dinCats: film
comedy &
PTVF Gerry
Contact:
fee.
Awards:
symposiums, panels, family day program,

($15
ner.
No entry
Preview on VHS.
after 8/1/99.
short.
the
$15,000+
abroad. Events
long programs span
hr.
Cats: any style or genre. Formats:
music.
strong, positive, innovative
form
Entry
U.S.
doc, poetry, exp, drama,
incl.
Caribbean, the U.S.
Canada. Work must have been completed
& filmmakers from
w/
fest,
crit-
enthusiastic regional
14-23, CA. Deadline: July 30. Held aboard the Queen

Mary, fest brings together films
genres,
from 1987-89. Two public
avail,
LA per
in
Awards: competition for Best Feature, Doc & Audience
audience. Entries accepted
[email protected]; www.hplfilmfestival.com
many
cutting
"promote the
student,
screenings
Fest"
www.nyfests.com
Deadline: Aug.
works
CA.
16.
presentation book.
Multimedia,
Crafts,
Grand
Awards:
Educational.
Festivals,
Oct.
in '57, int'l
36 countries; awards presented
entries from
238-4481;
H.R
of
multimedia
to
Jan., NY. Deadline: Aug. 3
14 (overseas). Founded
(U.S.); Sept.
tition for
World Cinema Program which
FESTIVALS INTERNATIONAL FILM & VIDEO
(NON-BROADCAST) AWARDS,
audiences. Accepting feature-length films, shorts, docs,
Ste.
Feb.
17;
fest features videos
produced using (but not exclusively) Fisher Price PXL
CA.
Feb.,
3rd annual
(final).
filmmakers to an environment encompassing the main-
16mm,
Nov.
in '91,
Melbourne Florida 32901;
City Blvd.,
[email protected]; www.3boysproductions.com
Deadline: Aug. 31 (early); Sept. 30
atrical
[email protected];
www.pafilmfest.com
PXL THIS VIDEO FESTIVAL,
invitational
Scranton, PA 18603;
St.,
963-7901;
fax:
digital
Entry fee: $45. Contact:
VHS (NTSC) & DVD. No
Alliance/IFP-South. Preview on
1399 South Harbor
its
16mm, 35mm,
Formats:
prizes.
entry fee. Contact: MIFF, Terry Cronin, Program Chairman,
www.hiff.org
well as
Diamond
ings of classic films. Cats: doc. Awards: Black
MELBOURNE INDEPENDENT FILMMAKERS
35mm,
various video. Preview on VHS. Entry
Eligible
are
features,
shorts of any genre or length. Entries
completed
in
July
&
spring-
docs
the previous year, not screened publicly
AVI
&
must have been
THE INDEPENDENT
in
53
(^5^-X^S)
THE NEW YORK
Context
STU
VIDEO FESJ1VAL
July 13-1!
or broadcast on
Discoveries (outstanding prods, of pre-
vious
tors
Int'l
Program
& TV
&
Other sec-
TV.
Films
Retros.
in
be presented to around 70 distribu-
will
buyers
German
Screenings
Special
year),
Official
presented by the Film Society of Lincoln Cenlpr

in
German cinemas
tions are the
New
well-established
in
The Mannheim Meetings, the
Int'l
Film Market.
Co-Production Market
association with Lincoln Center Festival 2011.

offers the opportunity to find co-production partners for
48x44
w,ith
cjjMaMr-~
projects
sound stage
10x2i4
pp^p*
<H
Awards: Approx. 20 films

for
cash prizes
&
Recording
jvide^)
rehearsal studios
stage rentals
production office
lighting
&
Competition compete
Int'l
Rainer Werner Fassbinder Prize, the
of the Jury, the Film Critics'
35mm, I6mm.
*
.
IIMI
Michael
Prize, the
Prize.
Formats:

MHIFF,
Koetz,
Galerie,
D-
68161, Mannheim, Germany; Oil 49 621 10 29 43;
fax:
Dr.
DAT I
tape duplication
*
Award
Special
in
Ecumenical Film Prize & the Audience
editing
in
the cats: Best Feature, Best Doc, Best
in
plus the
Short;
W. Europe (more than 120 participants
in
2000). Cats: feature, doc, short, Any style or genre.
Collini-Center,
49 621 29 15 64; [email protected];

www.mannheim-filmfestival.com
MOVING PICTURES CANADIAN FILM FESTIVAL,
grip packages
.
0*
f #*-'
&
Canada. Deadline: Oct.
Fall tours,
Spring
8th annual fest
1.
tours 16 cities with an outstanding selection of Canadian
Artists
and Independents' Welcome
Located
1
in
Williamsburg
documentaries,
features,
Games Begin.
WALTER READE THEATER
Let the
co-productions
35mm, 16mm,
films. Formats:
VHS. Contact: MPCFF, Michael Ghent, fest
380 West
and
short
Beta, digital. Preview on
1st Ave., Vancouver, B.C.,
dir.,
Ste. 450,
Canada V5Y 3T7;
(604) 681-4549; (877) 858-FILM; fax: (604) 687-4937;
718.384.8300
65 West 65th- 875-5600

Tix: 496-3809 or www.filmlinc.com
($5 for AIVF members)
1
www.contextnyc.com
[email protected]; www.movingpictures.nisa.com/
PALERMO INTERNATIONAL FESTIVAL OF SPORTS

FILMS, Nov. 6-10,
& videos
Cal
for Entries
shorts
tures,
judged
Deadline:
August
Contact:
PIFSF,
Vito
1,
2001
"or e-mail:
SouthBronxFilm
[email protected]
Preview on VHS.
No entry
Director,
XII
Oil 39 91 334609;
fee.
Rassegna
lire
PIFSF,
Palermo/lnt'l
di
Gennaio, 32, 90141 Palermo,

fax:
Brazil.
jury,
have been produced
940 Garrison Ave.,

Bronx, NY 10474
works that might not otherwise be seen
Perspective
fest,
presents 2 major sections:
& New Filmmakers' Competition
3rd film of director). Audience
makes
in
(up to
pre-selection for
selecting 10 films for final judging.
premieres.
Oct. 19-
Deadline: Aug. 13. Recognized by FIAPR
25th annual competitive

Int'l
Italy
39 91 611 4968; sportfife
SAO PAOLO INTERNATIONAL FILM FESTIVAL,

1,
SR
Vito
www.utenti.worldonline.it/sporfife
libero.it;
Nov.
(approx.
1/2", Beta
Contact:
Citta
fee.
Sports,
Paladino d'Oro;
3/4",
The Point
preceding 2 years
Entries
&
must
be Brazilian
Fest offers audiences opportunity to view
yr.
in
Brazil.
About
Cats: feature, doc, short.
Categories:
Awards: Fest also awards
Narrative
Winners receive Bandeira Paulista, trophy made by plas-
Documentary
tics artist
Audiences
Photo by Joseph Gilmore
Model:
Hammer
Body Painting by Tats Cru

Design: Rice-Gonzalez Public Relations
2001
is Prix
& 5,000,000
35mm, 16mm,
Sportfilmfest, via
No entry
Cats:
director,
$2,425). Formats:
Maggio,
Spettacolo."
5th Annual
South Bronx Film
& Video Festival
Oct. 11-13, 2001
'Experimental
Films for Young
July
Maggio,
Palermo"
di
to fea-
Entries
video. Special sections incl.
3/4", 1/2", Beta.
150 films showcased each
THE INDEPENDENT
&
Feature, Short. Awards: Top prize

"Citta
79. Open
& "Agonismo
mm,
16
in
prod, w/in last 3 yrs.
concorso"
35mm,
For info and

application
call 718-542-4139
fax 718-542-4988
54
in
Formats:
medal
iVAL
& videos
2 sections: film
in
"Opere
Deadline: July 31. Sports films
Italy.
are focus of fest, founded
Tomie Ohtake. Formats:
on VHS. No entry
dir, SPIFF,
Paolo
SR
Critics' Prize
& Audience
35mm, 16mm.
fee. Contact: SPIFF,
Prize.
Preview
Leon Cakoff, fest
Alameda Lorena, 937-Cj. 303, 01424 001, Sao

Brazil;
Oil 55 11 3083 5137/3064 5819;
fax:
55 11 3085 7936; [email protected]; www.mostra.org
MEMBERS ARE
FREE
OF
CHARGE
SPACE
AS
LISTED
THE
PERMITS.
Aug.
Deadline:
Marisa
Contact:
3.
Magazine, 5638 Sweet
Air
(888)
LENGTH AND MAKES NO GUARANTEES ABOUT REPETI-
scriptmag.com; www.scriptmag.com
TIONS OF A GIVEN NOTICE. LIMIT SUBMISSIONS TO 60
HOW LONG
TWO MONTHS PRIOR TO
WORDS &
INDICATE
245-2228;
SCREENPLAY
SLAMDANCE
MD
21013;
contests
592-3466;
(410)
fax:
Corona, Scr(i)pt
Baldwin,
Rd.,
(E.G.,
AUG
Most low/no-budget projects
COMPETITION
& homophobia
from sexism, racism, classism
show
rock
in
the test.
Much
thousands gather
or a rave,
join the
punk
like a
warehouses,
in
2001:
&
backyards, basements
West Philadelphia are
rooftops for screenings. Fests
in
quarterly; deadlines are ongoing. All
rules).
COMPLETE
ISSUE).
Lost Film Collective celebrates
soul.
FOR OCT
free
made w/
roster of fiery peculiar films
purchased, or produced (see entry form for other
COVER DATE
LOST FILM FESTIVAL:

great movies
submissions considered
Send
for mt'l touring festival.
all
Prizes incl. cash, software, plus submission to a major
CONTACT INFO (NAME, ADDRESS & PHONE) MUST
press materials,
literary

304 hudson
fivf,
st.,
6th fl,
Send
Screenplay Competition;
we try to be as current as
466-1786;
(323)
4434 Ludlow
WORKSHOPS
WORKSHOP:
MEDIA
workshop/retreat
makers & new media professionals

1/2 hr
reimage
& reshape
&
offline
incl.
online sales. Looking for short narrative,
Works selected may
alternative, dramatic, animation, etc.

storytelling
& "new media"
the
interactivity,
first
drama & long form. Category win-
&
5-day workshop
scheduled
is
for Feb.
int'l
(NTSC preferred) labeled with name,

will
be covered.
Visit
VHS
venues. Submit
or
S-VHS
length,
phone
2002. Travel &
ners receive $300. Grand prize: $2,500. Entry fee: $35-
accommodations
non-
Artists qualify for a
Designed to combine "old
Internet.
sit-
media"
hr pilot, 1 hr
to
int'l
media on the
digital
pilot,
of
independent film-
together
bringing
judges include agents, managers &
is
media submissions
in
digital
an intensive
is
&
designed to provide outlet for emerging talent
&
"New
screenplay compeOpportunity for Innovative Filmmakers"
com,

NEW
CROSSOVER
Finalist
for appl. Contact: LFF,
PA 19104; (215) 662-
Philadelphia,
0397; [email protected]; www.lostfilmfest.com
CONFERENCES
industry.
check out website
St.,
1784; [email protected]; www.slamdance.com
Competitions
s.a.s.e. or
466-
fax:
possible, but double-
tition
$10
(under 50 min), $20 for features (over 50 min).
for shorts
ny 10013.
ny,
1/2" video copy. Entry fees:
Slamdance
Deadline: July 23. Contact: Larry Hansen,
notices,
&
$40-$50.
fee:
independent
to:
stills
website for appl.
$50, depending on format. Deadline: Aug. 30. Appl. avail,
title,
photos. Submissions
incl.
Deadline July 13. www.weblab.org/ crossover
on website. Contact: Accolades

Ste.
2118
TV,
Wilshire Blvd.,

total
latest
in
in
WA
Seattle,
Inc.,
98121;
2318 2nd Ave,

568-6051;
(206)
of lead-
Rockport,
around the world.
Microcmema,
#313-A,
OCULARIS
campus
TION supports
equipment
offer
not returned. Contact:
exhibit their work.
for
Maine, workshops, courses, photo & film expeditions are
Sunday night screenings; works longer than 15 min.
Character driven, feature-length, standard format scripts

offered
&
in
scene shot w/ pro-
considered for curated group shows.
&
Vineyard, Greece, Norway

fessional actors
&
Film
Contact:
GLAdams
Enterprises,
1626 North Wilcox
Ave.,
ME
& TV Workshops, Box
All
work considered
1.
200, 2 Central
St.,
fax:
Open Zone
Rockport,
4, a quarterly
04856; (207) 236-8581;
&
open forum, also exhibits emerging, non-
236-2558; info@
#382, Hollywood, CA 90028; www.finalcutcontest.com
TheWorkshops.com; www.TheWorkshops.com
Performance Space, 70 N. 6th St, Brooklyn, NY 11211;
HOLLYWOOD SCREENPLAY CONSULTANTS SCREENWRITING COMPETITION: Seeking

$1.5
character or
million),
low budget (less than

feature
story-driven
Films
Tapes Wanted
PARK4DTV
film
CINEMA LA,
screenplays. Should be
live action, 1 or
ongoing
&
docs,
TV movie, TV mini-
must not have been
Tapes
not
will
be
returned.
tapes
c/o LATV,
for
Los
Angeles,
WGA signatory agency,
&
will
Stage Play Marketing Secrets. Each entry
2-page
critique
& coverage
$75
of screenplay. Entry fee:
per screenplay. Deadlines: Sept.
&
receive
will
&
Dec.
1.
made
Contact:
fit
into the
17216 Saticoy
St.,
#303, Van Nuys, CA, 91406; (818)
Rotterdam,
DUTV,
progressive,
access channel
nonprofit
&
All
in
genres
lengths considered. Will return tapes. Beta SP, DV, S-
VHS &
VHS
Chestnut
St.,
Bldg 9B,
IN
TEN SCREENPLAY COMPETITION:
the positive portrayal of gays

its
3rd year, the competition
&
is
lesbians
open
& webcast.
New
York City
&
cash awards & industry contacts

Sept.
&
1.
Send
s.a.s.e. or visit
Rm
4026, Philadelphia, PA 19104;
promote
FILMS/VIDEOS WANTED
in film.
Entering
&
entitled:
to winners. Deadline:
website for complete rules
is
Snack-On-Arts.
programs
entry forms. Contact: Cherub Productions,
One
In
for
weekly
in
art
program on Time
Artists
please
submit your
work. 15 min. max. Contact: Box 050050, Brooklyn, NY
629-3072;
park.nl;
www.park.nl
seek public

in
bi,
TV:
Cutting-edge cable access

Incl. info
All
program genres wel-
about program's history
Contact: Eric Freedman, Asst. Professor,

Florida Atlantic Univ.,
&
distribution.
Comm. Dept.
777 Glades Rd, Boca Raton. FL
33431; (561) 297-2534; [email protected]
Brooklyn's original
show
is
animated works
sored
aims
seeks film
&
script submissions.
All
genres
of color,
& formats
welcome. Film (submitted on VHS) & script submissions
www.screen
for
playcontests.com
SCRIPTS OPEN DOOR CONTEST
drag,
Ten
CO 80306;
looking for exp, narrative, humorous, erotic, subversive,
[email protected];
in
INDUSTRIAL
(303)
hr.
PARK4DTV,
microcinema featuring independent filmmakers
Screenplay Competition, Box 540, Boulder,
iooking
be paid for
will
Berlin. Contact:
(215) 895-2927; [email protected]; www.dutv.org
offers
&
Debbie Rudman, DUTV, 3141
To
to all writers
1991,
in
different
Box 11344, 1001 GH Amsterdam, Netherlands; info@
come.
ONE
Founded
program. Artists
994-5977; www.swiftsite.com/cine-vision2000
TV.
reality
by artist from around the world
tapes that
www.LATV.com
receive copy of Screen
hard-core
aired work. Organization also broadcasts
will
consider winners for representation to production co.
major studios. Top 3 winners
ultra
to
CA 90064; [email protected];
mitted deadline. Prizes: 1st place, $2,000; 2nd, $1,000;

3rd, $500. Prominent agent., a
television art piece every
Complex Studios, 2323 Corinth
preproduction or have been produced at time of sub-
Ave,
60 min.
PARK4DTV has broadcast more than 1,100
Contact:
sold, optioned, in turnaround,
Cinema LA,
in
of a
Works vary from computer-generated abstract
films about the Latino experience
work
submissions.
entry
&
are encouraged but not required. 5-60 min. Non-paid
Each
(currently in production or not).
an Amsterdam-based organization special-
broadcast
genres for broadcast on LATV.

night.
Latino filmmakers
TV series
in all
is
submissions of short
for
izing in
films, videos
series,
call
2 locations ideal,
10 or less characters, 90-120 pages. Any genre considered. Cats: feature, short, animation,
to discover
&
& subversive
exposure
in
NYC
fall
season. Controversial, uncen-
material encouraged. Guaranteed
area. Contact:
Edmund
Varuolo, c/o
must
incl.
synopsis,
bio
& $10
(check/m.o.).
Sheryl Ellison, IGH Multimedia,
655 Fulton St,
promote a talented, new screenwriter by awarding them
2droogies Prods., Box 020206, Staten Island, NY 10302;
Brooklyn.
cash & an "Open Door"
[email protected]; www.2droogies.com
excite.com; www.ighmultimedia.com
to the industry. Entry fee:
$40.
Films
screened monthly & scripts staged quarterly. Contact:

Ste. 139.
NY 11217; (718) 670-3616; ighmultimedia@
July
2001
THE INDEPENDENT
55
C^â^s)
media organizations
&
missions of short
&
experimental
&
race, class
&
of political
VHS
&
seeking film
in U.S., is
feature
length
docs,
synopsis
&
conscious nature.
socially
narratives,
issues of a
Applicants are required to submit a sample
tapes. Send submissions, synopsis
that address
video sub-
director's bio.
&
tape,
professional business proposal detailing the
budget, proposed use of 7 Fund monies
completed work
biting
VHS
& plans
Newsreel, Sherae Rimpsey, 545
NY 10018; (212) 947-9277;
York,
for exhi-
CCH MEDIA PROGRAM PLANNING GRANTS

to
$750
&
to
development
to support
one
of
the largest multidisciplinary contemporary arts centers
&
curat-
ed visual arts exhibitions for the 2002/2003 season.
pay for background
41
Gallery,
St.
Online artists' co-op offers free listing
actors, technicians
all
&
organizations
in
&
directory
searchable database, free email address (can even be
forwarded by fax or
s.a.s.e.
Jim
to:
letter),
free use of bulletin board.
Greenwich Ave,
37
Lawter,
necessary
& Sciences
of
looking for 2 film
is
scholars to grant $25,000 each. Program created to
WIGGED.NET,
a bimonthly webzine,
made
seeking innova-
is
new media works, animation &
experimental
videos
w/ CCH
consult
312 Sutter
St., Ste.
Deadline: Aug.
1.
601, San Francisco,
Contact: CCH,
CA 94108;
(415)
391-1474; www.calhum.org
Harvest-
Digital
to learn
&
missioned to write
MP3 samples &
projects.
web. Deadline: ongoing. For details
for the
support creation
curatorial
works
of innovative
may be
Projects
for books,
Contact:
biographical
can
info
be
website. Contact: Seth Thompson, (330) 375-0927;
works.org
disks,
&
Internet sites
CRIME AND COMMUNITIES MEDIA FELLOWSHIP
must be
& researchers considered.
historians
New
a local
York City TV show,
is
videos from
of
sup-
depth
media coverage
print,
(310) 247-3000
of issues related to incarceration in

in
the fields of
Motion Pictures Arts
photography
&
One award
radio.
of
up to $30,000
165; www.oscars.org/
x.
may be made
17 min.
min. to
&
Deadline: Aug. 31
looking for
& Sciences
& music
short films
improve quality
orgs, to
US. 4-5 awards of up to $45,000 granted
Academy
(postmarked). Contact:
WOLFTOOB,
& news
English. Only established scholars, writers,
in
of
[email protected]; www.wigged.net
cc@harvestworks: www.harvest
multimedia presentations,
electronic
projects,
of film scholarship.
accessed.
ports journalists
visit
develop proposal. Before applying,
to
staff.
459-9395.
fax:
&
similar
Send
#1-6,
ACADEMY FILM SCHOLARS PROGRAM: Academy

tive
&
reps, travel
Sheldon Blvd. SE, Grand Rapids, Ml 49503; (616) 454-
7000;
w/
consultations
research,
& community
94939; [email protected]; www.sausali.to
base
Contact: UICA Race
1.
major grant proposal
CA
Contact: 7 Fund, 7 Hillcrest Ave., Larkspur,
works
Deadline: Sept.
of
fax:
for
the Midwest, invites proposals for solo, group
provide up
a public audience within 2
to
in
(415)
years of receiving the grant. Finalists are chosen quarterly.
8xlOGLOSSY.COM:
URBAN INSTITUTE FOR CONTEMPORARY ARTS,
Contact: CCH,
CA 94108;
activities
New
Eighth Ave.,
publicity.
601, San Francisco,
St., Ste.
humanities scholars
Contact: Third World
&
scholar honorarium, travel
312 Sutter
to local
TV reporter
to
devote up to one
foundation/filmscholars
ALLIANCE OF CANADIAN
Publications
CULTURAL CROSSOVER
CINEMA TELEVISION AND
the art of cultural
creative community:
Crossover
is an intensive workshop and retreat in Florida

aimed to stimulate the production of new media projects that
combine the storytelling skills and sensibilities of independent
RADIO ARTISTS (ACTRA)

offers new, innovative pro-
DEVELOPMENT,
new
publication
commissioned by the
gram that supports

Foundation, traces the
Rockefeller
history,
genous Canadian
underpinnings, values
& methods
community
of
& aims
volume
response
al ties.
to social
& economic
also offers
It
support the
field.
For
weaken
forces that
info, visit
&
website or write
in
to
of
Cana-
dian-made
films.
Mahwah,
Community, Box 545,
performers
Canada
&
^^^^^^^^^^^^^^
backgrounds
across
project proposals
bring
^^^^^^^^^^^^^^^;
16,000
FERENCE
transcripts of 8th
conf.
IFFCON
avail.
int'l
financiers
&
producers
incl.
Perfect"
CA 94107;
Francisco,
to:
IFFCON, 360 Ritch
N.
is
America's premier financing event for independent

Topics discussed by
film.
"Pitch
in
St.,
the
San
new
directo-
magazine world can supply the name & num-
S&H)
Annotations: A Guide to the Independent Press provides
&
exciting contacts. To order send
2390 Mission
St.,
#201, San
check
Francisco,
to: IPA,
CA 94110;
&
indie film.
Contact:
Indra
Escobar,
Video Assoc,
in
ways of engaging
tt\\\\S\\\v\^^
\\\\\\\\\
skills to
models, ideas, and
a wider audience. See
listing (pg. 55).
to
ARTHUR
produce a series
of stories
on local or region-
VINING
issues related to incarceration or community re-
al
DAVIS
FOUNDA-
TIONS
provide
Deadline: Sept. 21. Contact: Miriam Porter.
[email protected]; www.soros.org/crime
grants
to
educational
support
crossover
series
airing
nationally
PBS.
Childrens'
CULTURAL FUNDING AND FEDERAL OPPORTUNITIES: Designed by the
by
series
are
of
particular
interest.
Consideration also given to innovative uses of public
TV,
in
schools
&
communities. Funding for research
identify potential
NEA to
programs, this online resource

cies
w/
help nonprofit arts orgs
sources of federal support for cultural

incl. listings of
fed.
history of funding art-related projects, links
agen-
&
ref-
erence tools, www.arts.gov/federal.html
member
Send approx.
journal.
be selected based on
and individual
(877) 913-2278.
&
pre-production
is
rarely supported.
Recent production
films for possible
grants
inclusion
will
S^^^^^^^^^^M^^N come up with new
these performers to
outreach

Film
to
including computer online efforts to enhance educational
(415) 634-4401; www.indypress.org
Univ.
entry.
IPA's
ber of the editor you need. For $24.95 (plus $3.05
diverse
wishes

ry to indie
film,
& com-
NJ
FILM FINANCING CON-
Lab, a media
| lab/thinktank, Crossover will have
represents
07430; www.rockfound.org
2001 INTERNATIONAL
Web
sumers. Created by
mercial
over
IFFCON
^^^^^^^^^^^^^^
of interactivity that invite the audi-
two
;fl^pl^J|f|^^|^|||^|i main components: a workshop and a
x
Approximately 30 indil|l||lis\
\\\l|f|| production lab.
viduals from film/video and new media
lllllllx
^\Hl
ACTRA
television
Creative
ence to become active participants rather than passive con-
Rockefeller Foundation, Job
for printed copies. Contact:
#3186,
filmmakers with
increase
cultur-
strengthen
recommendations
more
to
effectiveness as a
its
new forms
produc-
cultural
tions
development practice, emphasizing
indi-
theoretical
ranged from
$100,000
to
$500,000.
is
a video
DVD-based
TV & web developers.
guidelines avail, on website. Contact: Arthur Vining Davis
pages
Temple
to:
& Media
Arts,
&
Proposal
double-spaced
Series provides training tools that improve productivity
14E
&
Foundation, 111 Riverside Ave., Ste. 130, Jacksonville, FL
Annenberg
Hall,
Philadelphia,
PA 19122; (215) 204-
creativity for the end-user. Training
32202: [email protected]; www.jvm.com/davis
Resources
topics
Funds
&
episodes feature latest
technology, giving viewers access to working pros
CALIFORNIA COUNCIL FOR THE HUMANITIES FILM &
&
SPEAKER GRANT: Up
netmediafilms.com; www.digitalmediatraining.com
to
$500
to
cover costs of film
&
experts. Contact: Rafael, (877)
606-5012; info@mag-
discussion program of a CCH-funded doc. film or video.

7
FUND
provides grant
money
of
up
to
$10,000
to
DIVERSITY FUND: Corporation
non-
for Public Broadcasting
Grant funds provide support for film or video rental.

profit film
56
&
video projects
in
any stage
THE INDEPENDENT
of
July
development
2001
seeks
creative
ideas
for
TV projects that explore
[DEPENDENT
AKERS
HE ASSOCIATI
D FIL
AIVF and FIVF
iAbout
ladvocacy for the media arts
field,
of
member
Special
issues
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technologies,
a national
membership
organization
5,000
committed opinionated
diverse,
of
over
profit
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and Film
(FIVF),
offering a
broad
slate of education

connections, and the best information
available.
magazine, The Independent
of our
Film 8r Video Monthly, our expanded

website, or through the organization
collective
its
voice
in
activity,
new
and
as
well
each
issue.
as
special
international
and exhibition
til
and
news,
The Independent
regular
Our
New York
Filmmaker
City

listings to
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needs
We
producer.
hundreds
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'Offering
Members
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on goods and services
DUAL MEMBERSHIP
subscription to The Independent which is shared by both.
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& INDUSTRY
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for the year's
/ SCHOOL / NON-PROFIT MEMBERSHIP

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JOINT MEMBERSHIPS
Special AIVF memberships are also available through AIVF Regional Salons as well as

MEMBERSHIP RATES
$55/1
yr.
$100/2
yrs.
Dual
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yr.
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yrs.
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MAILING RATES
Individual

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arts
J0IN AIVF T0PAY!
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Development;
ME
ASIAN AMERICAN
Global
Catherine
lished the
Ancestors in
Media Fund with
140
NAATA.
and
way in which
Asian Americans are viewed
and understood. To date, over
$2 million has been granted to
8000;
4answers@
INDEPENDENT
RADIO/SOUND
ART
FELLOWSHIP
pro
vides project support for the creation of innovative
NAATA
radio or
sound
and works that

from an original
award
art works. Grant
must
Applicants
work/live
in
one
of $5,000.
boroughs
of the 5
of
New
&
audio-only installations considered. Applicants
York
City. All
genres
of
sound or radio pieces
ingly multicultural society,
must be emerging
look at national issues
Contact: Rachel Melman, Media Alliance, c/o
NAATA
450 W. 33rd
and provocative project

proposals from independent media proseeks engaging
NY,
St,
artists.
Deadline:
July
NATIONAL ASIAN AMERICAN TELECOMMUNICA-
jects
reflect diverse experiences.
Project appl. accepted throughout the year until the avail-
exhausted. Call
is
may
be terminated at any
time by CPB. Visit website for appl. Contact: Diversity

Fund, c/o Program Operations, CPB, 401 Ninth Street,
NW, Washington, DC 20004; [email protected]
ljones@
or
cpb.org; www.cpb.org/tv/diversity/rfp
D0CUCLUB
filmmakers
facilitates
in
&
DocuClub
offer feedback.
rough cuts for
its
is
now accepting
16th
fl
New
to
doc.
mem-
to:
in
pro-
production or postproduction phases with
the goal of increasing visibility of Asian American pro-
grams on public
television
& impacting the way

&
Asian Americans are perceived
in
which
understood. Awards
average $20,000-$50,000. Deadline: Aug. 24. Contact:
NAATA Media Fund, 346 Ninth
2nd
Street,
CA 94103; (415) 863-0814;
Francisco,
San
fl.,
863-7428;
fax:
[email protected]; www.naatanet.org
the making of their

screen
to:
ENDOWMENT FOR THE ARTS
NATIONAL
to organizations.
Access Grant aims
variety of projects that
make
Access projects seek
able.
areas
NY
York,
&
to
offers 2 grants
encompass a wide
the arts more widely avail-
under-served
to reach those in
those whose opportunities to participate
have been limited by age,
arts
10022; (212) 753-1326; www.docuclub.org
cational,
or
ethnic,
disability,
in
the
language, or edu-
economic constraints.
DURFEE FOUNDATION'S ARTISTS' RESOURCE FOR
Preservation Grant seeks to assist, encourage, preserve
present those forms of artistic expression
provide short-term assistance to
LA County who wish to complete work
a specific opportunity that

career.
Artists
Applicant
in
may
any discipline are
eligible
must already have secured an
an established organization
for
significantly benefit their
to
to
apply.
from
invitation
present the proposed
work. The work must be scheduled for presentation within
6 months of the appl. deadline. Applicants must be at
least 21 years of age. Deadlines: Aug. 7, Nov. 6. Contact:
The Durfee Foundation,
1453 Third
Ste 312,
Street,
Santa Monica, CA 90401; (310) 899-5120;
nation. Appl.
Division of Public
&
related digital
#1, Washington
D.C.
20007. Filmmakers
NW
PI.
will
Apt.
be con-
&
jects that
D.
AND CATHERINE
T.
provides support to selected doc series

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20506;
(Human & Community

CONTINUED ON PAGE 63
EMM
July
2001
THE INDEPENDENT
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MONTHS PRIOR TO
COVER DATE
AUG. 1 FOR OCT. ISSUE). CONTACT:
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This
ideas
This bi-annual event has emerged as one of

significant
and videos, that
films
sponsor:
view important docs, but also to exchange
On
themed
6k transgender
enlighten, educate 6k entertain the diverse
AIVF
and
intimate setting for filmmakers to not only
CALL FOR PROPOSALS:
members.
al
founder of the Mattachine Society, the
Legal Series.
AIVF's most
exhibition of high-quality gay, lesbian, bisexu-
Sessions
and continuation of our In Brief
series,
who
upstarts
(deadline for submissions: Wed., August 8;

details below), the
who
artists
builds
through the
bridges
in
once again be bringing
we'll
has
years and continue to push boundaries, as well
about video and what
up again
will rev
NYVF
media.
electronic
in
have been at the forefront of the medium
as
OUTFEST
Society of Lincoln Center presents a
searched out remarkable works by
be closed for the Fourth
of July holiday (July 2-6).
ANGELES)
NEW YORK)
www.filmlinc.com/nyvf/nyvf.htm
week-long celebration of the best and the

brightest
Our Filmmaker Resource

Wed.
info.:
July 13-18
New
York Video Festival
July 22- Aug 9 Harold Pinter
Dirk Bogarde Retrospective
on Screen and

The Foundation
for
n-vr -x-n-A-axrKcs;
publication of
The Independent and a series
and workshops, and information
including
seminars
services.
None of this work would be possible without the generous support of the AIVF
We also wish to thank the following individuals and organizational members:
&


New
York City
Affairs: Cultural
The William and
Flora Hewlett
Foundation
N'YSCA
LEF Foundation
BuSineSS/lndliStry
for
Department
Inc.;
included.
the Arts
of Cultural
Avid Media
Challenge Program

Composer
Off-line
the artist
at rates
can afford.
Members:

Rawstock; Eastman Kodak Co.; Film Society of Ventura County; Forest
Creatures Entertainment Co.; Groovy Like a Movie; Marshall/Stewart Productions, Inc.; Moonshadow
Production & Research; MPRM; Somford Entertainment; CO: The Crew Connection; FL: Bakus
Intematinal, Inc/ Odysseas Entertainment, Inc.; Tiger Productions, Inc.; GA: Indie 7; IL: Wonderdog
Media; MA: CS Associates; Glidecam Industries; MD: U.S. Independents, Inc.; Ml: Grace & Wild
Studios, Inc.; Zooropa Design; MN: Allies; Media/Art; NJ: Black Maria Film Festival; DIVA
Communications, Inc.; NY: AKQ Communications, Ltd.; American Montage; Analog Digital Intl., Inc.;
Asset Pictures; Black Bird Post; Bluestocking Films, Inc.; Bravo Film and Video; The Bureau for AtRisk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra Films; Cypress Films;
Deconstruction Co.; Dekart Video; Dependable Delivery, Inc.; DV8 Video Inc.; Earth Video; Guerilla
News Network; Human Relations Media; Hypnotic; Inkling Prods.; Kitchen Sync Group, Inc.; KL
Lighting; Mad Mad Judy; Mixed Greens; New Rican Filmmaker; New York Independent Film School;
Nuclear Warrior Prods.; NTV Studio Productions; On Track Video, Inc.; One KilohertZ; Partisan
Pictures; Paul Dinatale Post, Inc.; Prime Technologies; Seahorse Films; Son Vida Pictures, LLC; Stuart
Math Films, Inc.; Suitcase Productions; Tribune Pictures; Winstar Productions; Wolfen Prods.; OR:
Angel Station Corp.; PA: Smithtown Creek Prods.; TX: Upstairs Media Inc.; UT: KBYU-TV; Rapid Video,
LLC; VA: Bono Film & Video; Dorst MediaWorks; Roland House, Inc.; WA: Amazon.com; Global Griot
Prod.; WV: Harpers Ferry Center Library
Calliope Films,
Everything
T.
Manhattan
Dr.
suite.
kitchen
SYNC
Tel:
(516) 810-7238
Fax (516) 421-6923
Nonprofit Members:

Filmmakers Alliance; Itvs; LEF Foundation; Los Angeles Film Commission; Media Fund; NAATA; Ojai
Film Soc.; Reach L.A.; San Francisco Jewish Film Fest.; U of Cal. Extension, CMIL; USC School of
Cinema TV; Victory Outreach Church; Whispered Media; DC: Corporation for Public Broadcasting;
Media Access Project; FL: Manatee Community College; GA: Image Film & Video Center; HI: Aha
Punana Leo; U. of Hawaii Outreach College; ID: Center for School Improvement; IL: Art Institute of
Chicago/Video Data Bank; Chicago Underground Film Fest.; Community TV Network; Little City
Foundation; PBS Midwest; Rock Valley Coll.; KY: Appalshop; MA: CCTV; Coolidge Corner Theatre
Foundation; Harvard Medical School; Long Bow Group Inc.; Lowell Telecommunications Corp.; LTC
Communications; Somerville Community TV; MD: Laurel Cable Network; Native Vision Media; Ml: Ann
Film
Inst.; AZ:
Arbor Film
Fest.;
of Arizona;
Scottsdale
MN: IFP/North; Intermedia Arts; Walker Arts Center; MO: Webster University Film
Magnolia Indie Fest.; NC-. Doubletake Documentary Film Fest.; Duke University-Film and
Great Plains Film Festival; Nebraska Independent Film Project, Inc.; Ross Film Theater,
UN/Lincoln; NM: Taos Talking Pictures; NY: Art 21; Cinema Arts Center; CUNY TV Tech Program;
Series; MS:
Video,- NE:
Communications Society; Cornell Cinema; Council for Positive Images, Inc.; Creative Capital
Foundation; Dependable Delivery; Downtown Community TV; Film Forum; Film Society of Lincoln
Center; Globalvision, Inc.; Guggenheim Museum SoHo; John Jay High School; Konscious, Inc.; Listen
Up!; Manhattan Neighborhood Network; National Foundation for Jewish Culture; National Video
Resources; New York Film Academy; NW&D Inc.; NYU TV Center; New York Women in Film and TV;
Open Society Institute/Soros Documentary Fund; OVO, Inc.; Paper Tiger TV; Spiral Pictures; Squeaky
Wheel; Standby Program; Stony Brook Film Fest.; Thirteen/WNET; Upstate Films, Ltd.; Women Make
Movies; OH: Athens Center for Film & Video; Cleveland Filmmakers; Greater Cincinnati & Northern
Kentucky Film Commission; Media Bridges Cincinnati; Ohio Independent Film Fest.; Ohio
Wexner Center; OR: Communication Arts, MHCC; Northwest Film Center; PA:
DUTV/Cable 54; PA Council on the Arts; Carnegie Museum of Art; Prince Music Theater; Scribe Video
Center; Temple University; University of the Arts; SC: South Carolina Arts Commission; TN: Nashville
Independent Film Fest; TX: Austin Film Soc.; Southwest Alternate Media Project; Worldfest Houston;
UT: Sundance Institute; VT: Kingdom County Productions; WA: Seattle Central Community College; Wl:
UWM Dept. of Film; Wisconsin Film Office; Canada: Toronto Documentary Forum/Hot Docs; India:
University/Film;
Friends Of
"IVF: Ulises Aristides, Bakus International, Aaron Edison, Suzanne Griffin,

Christopher Gomersall, Patricia Goudvis, Leigh Hanlon, Robert L. Hawk, Jewish Communal Fund,
Laura Kim, Bart Lawson, Elizabeth Mane, Diane Markrow, William Payden, Possible Films, Rhonda
Leigh Tanzman, Mark Vanbork
VJDfD
VIDEO/ AUDIO POST
IJliW /
AVID
/ XL 1000
Composer
Media Composer 8000

Film
3D
/Titles / Graphics
Experienced Editors

Sound Design
Editing
Audio Syncing w/
Mixing
Digital Pix
SOUND STUDIO
Voice-Over
ADR
Sound EFX
Foleys
Library
DUBS & XFERS

632 B'WAY (& Houston) 10012
212.473.3040
Ink
2001
THE INDEPENDENT
61
Rochester,

for
members
to discuss work,
When:
meet other inde-
AIVF
Wednesday of the
BOARD ELECTIONS
month,
the AIVF community across the country. Visit
Run
terms, gathering several times a year for weekend-long meetings.
more
active board;
details.
for the AIVF board of directors! Volunteer board
ings to
to contact your local
Be sure

First
pm
Contact: Kate
board meetings and participation by email
interim Preparation for meetings by reading/preparing
one or more committee areas
executive board and staff
Commitment
&
conference calls
(716) 244-8629,
advance materials
General support of
to the organization's efforts
Board nominations must be made by current AIVF members
(518) 489-2083,
in full
on date of nomination); you
must be
www.videosforchange.com
toward
at least 19 years old
may nominate
and AIVF members
in
(i.e.
GA: IMAGE
inee
of the month, 7
San Diego,
dues are paid
and nominator
1938, aivf@media
good standing. To make a
to the attention of [email protected].
We
artscenter.org
nom-
cannot accept nom-
South Florida
inations over the phone. Nominations are due at the AIVF offices or in the email
pm
Contact: Dominic
box by 6 p.m. EST, Friday 8/31/01.

Contact:
Mark Wynns,
(404) 352-4225 x. 12,
Giannetti, (561)
Voting Eligibility: Only paid AIVF members
eligible.
[email protected]
When:
Last
Contact:
Monday
Anne
Birmingham,
of the month, 7
[email protected]
575-2020,
or (212)
dvproductions
236.
x.
pm
First
Dallas,
Tucson,
[email protected]
Edison,
AL

Plus,
2910 Crescent Ave.,
CO:
Note: The Boulder Salon
resume meetings
First
in
is
on
hiatus for July, but
August.
Library,
pm
Note: The Tucson Salon
Where:
SWAMP
SWAMP
pm
Washington,
1519 West Main
Contact: (713) 522-8592,

Lincoln,
NE: Nebraska
on hiatus for
is
sum-
DC
[email protected]
Ind. Film Project

of the month, 5:30
DC Salon hotline
New
pm
Salons Forming!
Cincinnati: Lori Holladay
Street
is
considering starting
you would
Contact: Dorothy Booraem, (402) 476-5422,
a Cincinnati salon.
www.lincolnne com/nonprofit/nifp,
pate, contact [email protected]
[email protected]
[email protected]
MA
Los Angeles, CA:
Seattle:
Boston,
the
mer, but will resume meetings in the Fall.
Last Tuesday of the month, 6:30
1000 Arapahoe
month
of the
Tuesday of the month, 7
Monday
When:
[email protected]
AZ
First
Contact: Rosarie Salemo, [email protected],
Houston, TX:
Scott, (205) 663-3802,
When:
NJ
Homewood, AL
Boulder,
ions.com
of Dallas
When:
Oct. 12 to be
@ureach.com,
del Castillo, (512) 507-8105,
Where: Production
will
Renew by
www.dvproduct
[email protected]
Karen
vote.
Where: Bad Dog Comedy Theatre, 110 Riverside
When:
may
To verify your membership status, contact
807-1400
Austin,
CA
Thillo, (619) 230-
Board members
yourself.
nomination, email or fax the name, address, and telephone number of the
[email protected]
Contact: Ethan van
[email protected],
Atlanta,
Workshop
Studies
financial stability.
& Music, Wolf Rd.
Camoin
Contact: Mike
We have an
spend time at and between meet-
to
Kressmann-Kehoe,
all
Active participation in
pm
Where: Visual
board responsibilities, which include:
fulfill
Attendance at
in
When:
members serve three-year
Salon Leader to confirm
date, time,
members must be prepared
NY
First
EZTV
When: Thitd Monday
[email protected]
Where: EZTV, 1653 18th
Heather Ayres
our Seattle salon.
of the month, 7:30

Street,
pm
If
If
is
like to partici-
considering re-starting
you'd like to participate,
contact [email protected]
Santa Monica
Salons are run by AIVF members, often in association
Charleston,
When:
SC
with local partners. AIVF has resources to assist enthusi-
month
Libtary,
68 Calhoun
6:30-8:45
pm
St.
OH: Ohio
astic
When:
Cleveland,
[email protected]
First
in their
to start
call (212)
or e-mail [email protected] for information!

2821 North 4th,
Room
140
Dan
Wilson,
Detailed salon information
OR
(216) 651-7315, [email protected],
Portland,
www. ohiofilms .com
[email protected]
is
posted
on the web! Visit www.aivf.org for an

overview of the broad variety of regional
salon programs as well as up-to-date
information on programs.
62
THE INDEPENDENT
July 2001
a salon
807-1400 x236
GZ___îiD
FROM PAGE 57
NOTICES, CONTINUED
OPEN CALL 2001: The
Independent Television Service
programs of
(ITVS) considers proposals for innovative
Wave
Films,
CA 90405.
(310)
standard broadcast length for public television twice a
Contact: Next
Monica,
stories
from diverse points
No
view & diverse communi-
of
finished works. Projects
drama, doc, exper.) or stage
of
in
any genre (anim.,
development
molds
American
Asian
(NAATA)
tional
&
15 (Round
Deadline: Aug.
Contact:
1).
(415)
356-8383,
232;
x.
2nd
NEH SUMMER STIPENDS
humanities. Stipend
support 2 months of full-time
&
of schools, colleges
writers working
studio4|@mindspnng com
.
& NAATA funds must
finish
to
edit*plus
Appls.
project.
&
Review process takes approx.
rolling basis.
San Francisco, CA 94103; (415) 863-0814;
Combustion*
St.,
After Effects
fax:
863-7428; [email protected]; www.naatanet.org
PACIFIC
universities; scholars
w/ research
institutions
in
fl.,
to the
designed to support faculty & staff
is
E:
final
1-3 months. Contact: NAATA Media Fund, 346 Ninth
work on projects making a significant contribution
rough-cut must be
Full-length
monies needed
last
reviewed on a
(2002 Round
106
15
Feb.
2),
<
Assoc.
in
guidelines
be the
site.
Discreet logic's
phase.
submitted. Awards average $20,000
not usually heard. Download applications
members
Telecommunications
those
risks, or give voice to
4 J
from
is avail,
filmmakers w/ public TV projects
for
postproduction
from web
Funding
of exploring cultural, political, social, or eco-
nomic issues, take creative
STUDIO
399-3455;
fax:
T+F: [212] 254-1
OPEN DOOR COMPLETION FUND:
a great story, break tradi-
tell
Santa
Ste. E,
St.,
[email protected]; www.nextwavefilms.com
Nat'l
Programs should
sidered.
7th
392-1720;
be con-
will
2510
non-fiction films
& Agenda 2000.
are
year for Open Call. ITVS seeks provocative, compelling
ties.
&
intended for theatrical release. Fiction
ISLANDERS
COMMUNICATIONS
IN
grams intended
(PIC)
proposals for pro-
call for
3/4",
5-VHS, Hi8
for national public television. Doc, per-
or educational
formance, narrative, animation, children's or cultural
&
collections; scholars
writers working
w/
institutions
in
affairs
&
no connection to humanities; scholars
ly
independently. Visit
web
info
on
NEH
site or write to the
Summer
Deadline:
eligibility.
Room
Stipends,
Oct.
particular-
is
illuminate reali-
for appl.
Contact:
1.
&
interested in projects that examine
ties of Pacific Islander issues
&
PIC
eligible.
writers working
NEH
&
such as
spirituality.
diversity, identity
Awards
lengths.
of
318, NEH, 110 Pennsylvania
up to $50,000 are available

Ave, N.W., Washington, D.C. 20506; [email protected];
&
works-in-progress
for
Research
&
development & scripting phases may receive up
to
including
production
postproduction.
www.neh.gov/grants/onebook/fellowships.html
NEW DAY
FILMS: premier
seeks energetic independent film &
social issue media,

tribution
to
non-theatrical
markets.
appl. for
new membership.
Contact:
Now
for dis-
accepting
New Day
$15,000. Deadline: Aug.
Media
Fund,
PIC,
Ave.,
Blvd,

In
6A-4,
Ste.
the East Village
591-1114;
fax:
[email protected]; www.piccom.org
Films,
Ho-Ho-Kus, NJ 07423; (415) 383-
Kapi'olani
96814; (808) 591-0059;
Honolulu, HI
PANAVISION'S
22D Hollywood
Contact: Annie Moriyasu,
3.
1221
ftlcejfjt tile Jfi JcpefiJerri
16mm camera
packages
provides
to short, nonprofit film projects of
8999; www.new day.com

any genre, including student thesis
NEW
NEW MEDIA FUND:
VOICES,
Corporation
for
Public Broadcasting has allocated up to $2 million this
year to create the
New
Voices,
New Media
Fund. The
new media
objectives of this Fund are to harness
supporting the creation of mission-driven, diverse
by
550 stamp. Contact:
media content, and providing opportunities
Program, Panavision, 6219 DeSoto Ave., Woodland
new
in
of Portland,
OR
Hills,
call for
submissions
Camp
for Avid Film
Digital
announcing an
is
for diverse
open
working
w/
s.a.s.e.
New Filmmaker
CA 91367.

content creators
Send
films.
Simpson,
Kelly
program.
broadcasting to
public
5-year-old program affords a boost to independent fea-
develop the
that the
skills
new media demand.
Project
ture directors looking to complete films, while offering
applications will be accepted throughout the year until
Avid-authorized training to career editors. Beginning this

the available fund
is
exhausted. Be aware that this
call
year, films will receive free Pro Tools audio finishing
may
be terminated at any time by CPB. Contact:
New
Avid
Voices,
New Media
Fund,
c/o
Program
Symphony Online
editing.
&
Submissions must be fea-
Operations,
ture-length
projects
Projects
Corporation for Public Broadcasting, 401 Ninth Street,
accepted on a
rolling basis.
Contact: Deborah Cravey,
NW, Washington, DC 20004-2129; [email protected];
SW
Digital
Westgate
Dr.,
www.cpb.org/tv/funding
Ste.
NEW YORK
STATE COUNCIL OF THE ARTS (NYSCA)
announces the
Media
&
availability of
funds through
its
Electronic
Ill,
OR 97221;
THOUSAND WORDS FINISHING FUND
is
designed for
Film Program for distrib. costs of recent works by
York State artists. Grants up to $5,000
awarded
second time feature directors or producers to cre-
for
ate innovative
audio/radio, film, video, computer-based work
&
tion art. Deadline: Aug. 15. Contact:
EMF
&
sound mixing, music
Program; (212)
docs, animation
387-7058;
fax:
challenging film. Fund
is
& works
in
rights, etc.
progress
Feature films,
may be
submitted.
Contact: Thousand Words, 601 West 26th
was
available for
installa-
editing,
Channel,
297-2324;
(503)
[email protected]; www.filmcamp.com
first or
New
Portland,
the
Independent Film
other vital support to emerging filmmakers

English-lang. features from U.S.
receive assistance
w/
&
&
w/ low-budget,
abroad. Selected films
postproduction,
New
York,
NY 10001; (212) 331-8900;
St.,
[email protected];
fax:
11th
www.thousand-
words.com
offer
seminars
implementing a
festival strategy
filmmakers
&
w/an
securing distrib. Through Agenda 2000
est.
body
of
Exemption" &
& assistance
more.
Reservations
&
Tax
must be made.
work can receive production

Contact: (212)
financing
fl.,
343-2134;
for features shot
on
digital
video
319-2910
x. 9.
&
lulv
2001
THE INDEPENDENT
63
INA OUT OF
(jj^.j)
Daniel Steinhart
by
Grand Ole Opry radio program, an eminent institution in country music.
Against the backdrop of worldwide

millennium
filmmaker
Joanne
definition of China
fever,
Cheng searches for a

on the eve of the 21st century
in her doc-
umentary China Gold Rush. In her
travels
through China to interview business executives, artists, politicians, Internet surfers,
punk bands
Anarchy Jerks, and

in China, Cheng reveals
like
Westerners living
for his
flamboyant clothes, late-night rac-
coon hunting
Martin
is
and rash behavior,
trips,
considered the black sheep of
Goehl
the bluegrass world.
postproduction, trimming
Marty
Stuart,
plus footage of Martin
Tom T
and
Hall,
and company tour-
pi
& &*4fc
EwflK
This timely
roots.
fm
Film Festival. Contact:
M^% W
the
happen
issue
involved in
be black.
to
Set in
Miami, the film explores the strained

that
tions
develop
when
The
rela-
Haitian-
African-American neighborhood.
family's positive perception of the
neighborhood changes when a damaging
rumor about Haitians finds its way into

their home. The film shows how the
racism black people have been subjected
to for centuries has led to cross-racial hos-
~t^^F
Contact: Chelo Productions, 11040

St.,
SW
Miami, FL 33157; (305) 253-
in
In
King
of
Bluegrass,
George Goehl paints a
filmmaker
portrait of
Jimmy
Martin, one of the most colorful figures in

bluegrass
recounts
was
music.
how
criticized
The
documentary
Martin's brazen behavior
by the Nashville
elite,
pre-
venting him from achieving his lifelong
dream of becoming
64
member
THE INDEPENDENT
of the
July 2001
State
Women
the
film
Estrella;
782-6357;
and
pegi
or
installations to
award-winning
artist
Bernardo
Van McElwee
new video
presents three
Ruiz's Night Magic.
shorts. In Procession, the

sights
and sounds of flow-
ing throughout the South and Midwest.
ing parades are manipulated through edit-
Goehl
ing and digital effects, transforming the
is
seeking finishing funds. Contact:
George Goehl, (773) 772-0530; georgebwww.kingofblue

[email protected];
grass.com
In his short Night Magic, writer/direc-
Bernardo Ruiz (The
tor
Devil's Twilight)
widowed Jose,
who dreams of becoming a successful
magician. While working as a janitor during the day, he pursues his dream at night
tells
the tale of recently
the vanishing
in
world.
his
New
Mocked by an
domino
short
partners,
Jose
stars
York vaudeville
arrogant supervisor,
and
Rabelo
(La
Ciudad,
Happiness). Contact: Quinta Raza Prod.
Box 250438,
pieces
video
Jose Rabelo
processions
New York, NY
10025; (212)
Filmmakers
Pegi
Estrella take their
Vail
and
Video
Festival.
camera across the globe
to capture a subculture of shoestring bud-
get world travelers

venirs
are
their
whose
stories.
infinitely
McElwee
universe
lated
recurring
in
creates a pixel-
installation
his
where he explores the relationships between size and movement,

imagination and resolution, and organic
Navigators,
and
In Waveform
Dutch architect
Spueybroek becomes the raw maternature.
electronic
Modulation, the work of

Lars
St.
McElwee's experiments with time.
Louis Riverfront Times writer Diane

asserts,
"McElwee
transports his
viewers hypnotically, viscerally, imagina-
through
tively
ingenious
fascinating
images and sounds. Travelling through his

video
Melvin
into
moments. The video was the grand prize

winner at the New Arts Program Biennial
Carson
is
Melvin
mJr
order to achieve his goal. This super 16
Cat
Melvin
(718)
his credit,
makers are seeking completion funds.

179th
and
and
Vail
currently in postproduction and the film-
the
by
Make Movies,
:jR
ial for
amongst themselves. Skin
Funded by
York
funds. Contact: Pegi Vail
young street
magician, Jose endures blow after blow in
tility
New
_* sponsored
Estrella, directors of With
American family moves into a middle

class
tjm sivW_^
a Pack.
^B
and white issue, believe

filmmakers Lolita Stewart-White and
Cheryl Whitehead. In their first feature
all
celebrated
With over 30 video
just a black
when
artist.
Council on the Arts and
Pegi
more
Skin the Cat, the co-directors take a
Bolivian
com
-vtt
is
Ugalde,
melvinestrella@hotmail.
875-7967; communications@lor
look at what happens
two Thai filmmakers, and Gaston
guide,
Hueneme
Prejudice and discrimination
Malian tour
[email protected]
FORAGE,
age.com
Tony
Lonely Planet publishers
Iyer,
and Maureen Wheeler,
currently awaits finishing
stereotypes and mis-
Best Digital Feature at the Port
film,
Pico
Tfcj
one of the most enigmatic and

powerful cultures in the world. China
Gold Rush won Best Documentary and
than
University students
Mali. Intercut are interviews with author
insight into
(212)
and Steve and Lina, two

who meet up
London
with a Parisian teacher traveling through
is
conceptions about China, while offering
Int'l
Zealander traveling through
old
currently in
Internet, media, interracial marriage, tra-
and cultural
document challenges
New
Thailand,
the
and video footage of everyday life in

China, the film examines the impact of
the World Trade Organization, the
alone
traveling
through Peru and Bolivia, John, a 23-year-
down 70 hours
of interviews with country stars like Ralph

Stanley,
American
year-old
Mixing interviews
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Upfront
Editor's Note
News
Bill
Ivey resigns as
man;
Sally Jo Fifer
NEA
is
chair-
the
head of ITVS; the guild
new
strikes
that never were; briefs.
by
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FAQ &
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and
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duced very few new
editors.
Other
have come and
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arts
has intro-
it
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me
always amazes
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Floor

ar,
and administrator, has combined rural

and political savvy to influence
sensitivity
NEA
programming and increase the
agency's budget
ir
and maintain the
cur-
rent level of spending of $105 million
through FY 2002.

*
When
U\\
he took over
in
May
1998, leav-
ing a 27-year career as director of the
Country Music Foundation

he inherited an agency
still
in Nashville,
smarting from
controversies almost a decade
political
Conservative Republicans, charging
old.
that the
NEA was subsidizing arts projects
they considered profane, had attempted

to
impose restrictions on the agency's
funding guidelines in the early
NEA
years, the
dismantle and witnessed
efforts to
eral
For
'90s.
weathered Congressional
fed-
its
budget appropriation slashed from a
high of $176 million in 1992 to $98 million at the time of Ivey's installation.
Just
one month
House
after Ivey
took
committee member proposed

that
office, a
Sub-
Appropriations
Interior
legislation
would altogether eliminate funding

NEAs 1999 budget. Ivey antici-
for the
pated the move, and issued a statement
advocating bipartisan support for the

agency in Congress. His campaign worked
and Congress eventually kept funding

1998
levels, at
One
$98
NEA
aspect of the
members o{ Congress
Capitol
Hill:
Home
of the Democratic-controlled Senate.
at
million.
that certain
persistently object-
ed to was the perceived disproportion of
NEA
grants to the country's largest arts
centers. Ivey addressed that concern in
LOOKING FOR A
NEW
Ivey resigns from the

announced
Bill Ivey
he was resigning
the National
Endowment
effective
September
arts
in
NEA
expect
erica,"
to effect poli-
cy too much,
for the
especially
Arts
in
where
the
FCC
community feared he was handing
munities which broadened
means
dramatic party
as his
replacement
firmed by the
will
have
acy.
NEA,
The
man,
Resigning NEA chairman
Bill
Senate. Most Washington watchers don't
lot
out-
going chair-
to be con-
new Democrat- controlled
to Ivey's leg-
before the end of his four-year term does-
the end of the
the
by
NEAs
including
the
arts, cultural
and her-
and community
arts
but
the turnover
switch in May, Ivey's leaving eight months
n't necessarily signal
areas
rural
resources for arts education, "youth at
Though
its
Jeffords'
on
impact
itage preservation,
actually
Amcom-
partnerships.
it.
But with James
"Arts-
initiative targeted to small
risk," access to
to dismantle
the
of
an
con-
is
cerned,
control
unveiling
program designed to
the
agency to the
Republicans who had once been seeking
over
by
he followed with "Challenge
that
April that
many
1998
a funding
support underserved arts communities

whose projects offered considerable community outreach services. Six months
chairman of
dm
his post as
BILL
REACH,"
later,
By Bob Connelly
When
September
re-
spected folk-
Ivey
PHOTO: MAX HIRSHFELD
lorist,
Ivey's first year
was lauded
not without
issue.
In
March
for
was
grassroots programming, his tenure
he
199Q,
reversed his endorsement of a grant ear-
marked
for a children's
revealed
the
that
book when
was
author
it
was
Sub-
comandante Marcos, a pivotal member ol

the Mexican Zapatista guerrillas. The
schol-
uncharacteristic
AuRust/SoptcmK-r 200
NEA
move
upsel
sup-
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Institutions:
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is to

and filmmakers and
to
for
independent video
and information.
diversity
In
and democracy
expression of ideas
in
the communication and
and images.

1 The Association
is
for
independenl
and independence;
filmmaking
economics
is
it
more than
just a job, that
it
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,
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ITVS:
Amendment
First
formed
might have seen
Eight months after the late James

about... what
advocacy
incite
entity,
"But
thought
it
good decision." Denton suggests
that
Denton, executive
American Arts Alliance,
director of the
arts
they
caving in to political
as
says Jan
pressure,"
NEA
the
if
opponents
who
may
that
revitalizes,
issue with the agency.
are seeking to take
The person
Ivey's position, she believes,
taking
must under-
stand "that there will always be some controversy affiliated with the arts, precisely
sion."

because of
a
new
ill
health, the organization has
with the support of the Clinton
requested a budget of
administration,
$150 million for 2000, but was once again

assigned $98 million. A breakthrough
who
chief: Sally Jo Fifer,
"I've spent
my whole
career believing
that the independent voice
nects people, and that public media
vehicle
inclusive
NEA
manifested in a thesis presented late
last
year which he formulated to expand the

nation's conscience
on the "value of
The
[its]
During
Fifer 's
BAVC
videomakers
local
into
PBS programmers have reached a highwater mark. Although ITVS is funded by

the Corporation for Public Broadcasting,
PBS
has no obligation to
air
ITVS' batting average by

ies
ITVS -funded
initiating
and the understanding of
artistic
programming managers
quality.
To guarantee these moral
claims,
around the country. The
and education
associations, school leaders
reformers, journalists,
government." [See the
and
full
all
levels
text at
of
www.
arts.endow.gov]
When
he
said: "I'm
NEA
his resignation,
proud of what's been accom-
my
plished during
tenure.
We've brought
grant making to under-served areas
and have better connected young people

with the
arts.
Today, our partners in and
out of government see the endowment for
what
it is
a major public policy asset."
Bob Connelly
is
"ITVS
like
initiatives
PBS
affiliates
result
was new
at
completing
short, Silver Cities
the
Documentary
mentaries produced in partnership with

cable network WorldLink
hopes
will
become
TV
that
permanent
ITVS
of Yucatan, about the 1926
who persuaded Congress
producers
PBS' flaws and intransigence,
ITVS' creation
to
led
of
precisely
is
1991.
in
"ITVS was born from
who
worked
to
who
connect with both indepen-
dents and public television and instilled a

greater level of trust in both
ties," says Fifer. "I
want
to
communi-
honor
his lega-
ment work
building
on
Fifer
ple,
sees
her job as
Yee's foundation rather than
ITVS was
power
exam-
quick to plug into the
of the Internet,
make govern-
for us,'" Fifer asserts. "It's all
about being subversive

tive way.
It's
in a very posi-
about action and speaking
all the right places and all the

wrong places. It's about coming forward
and participating in democracy and making it work. But it's hard to make it work
out in
when we
don't
know
what's going on.
That's the role of the independents."

Fifer's biggest
the
ITVS
challenge
may be making
case to Congress, where public
television with
even
mild bite
is
still
a self-described military brat
Fifer,
who
received a B.A. in art history from the

University of California at Berkeley and
an
M.A.
Stanford
in
communications
welcomes
University,
from
that
debate. "Public media should be a ke\
cy and build that work."
Consequently,
a group of people
'We're going to
said,
viewed as part of a left-wing conspiracy.
strand.
instituting wholesale changes. For
documentary
"is
That
shared by persistent independent
belief,
Evenings," a three -hour block of docu-
"Jim Yee was a tremendous leader
announced
Ivey
a ser-
of information-gathering sessions with
tation,
of "communities, corporations, volunteer
she argues,
television,"
civic dialogue happens."
seven years at the helm, he improved
on the committed partnership
are
fully-fledged
documentaries and dramas. During Yee's
Ivey called
"And
sets.
computers
that
as ubiquitous as television
and staff grew tenfold, and it

expanded from a scruffy
media arts group serving
of Rights" proclaimed citizens' entitle-
and represen-
nowhere near
ten-
Bill
creativity, artistic heritage
out
points
Fifer
budget
"Cultural
to cultural experiences, diversity in
the democratization of mass media,
in
PHOTO: SCOTT BRA1.EY
and
ment
cutting-edge equip-
While the Internet has been hailed in

some circles as the ultimate breakthrough
what
art
cultural heritage."
com-
Silicon Valley
who donated
ment to BAVC.
panies
tures," Fifer says.
filmmaking community and
more
numerous
ships with
Sally Jo Fifer joins ITVS as executive director.
with both the independent
Ivey's vision of a
No stranger
technology, Fifer brings relation-
understanding between cul-
2001, the
in six years.
new
can connect people and bring
when Congress
first rise
the
is
through which we
approved an additional $7 million for
year,
what con-
is
to
where most
(BAVC).
the Bay Area Video Coalition
new media center. She arrives at ITVS at a

time when its relationships
came the following
for the last
nine years has been executive director of
ure, the organization's
Throughout his tenure, Ivey remained

focused on Congressional funding. The
T.
Yee resigned as executive director of the
because of the value of freedom of expres-
NEA,
James Yee
Michael Fox
by
in-
cause concern
did
reversal]
among some people
was
that
his decision.
"[The
an
rights,
THE NEXT GENERATION
Sally Jo Fifer takes over for
tination of the funds, rather than curtail-
ing
and filmmakers.
public, press,
artistic
freedom of expression, but Ivey defended

his position, declaring that it was the des-
and
its
Web
site
has
stone of the 21st century,"
"and connecting the

public
First
media has got
^lu-
declares,
Amendment
to be
done
to
in this
century."
Michael Fox
is
a San Francisco based
Mason- Spina en
archaeological
expedition
to
elicited across-the-board raves
from the
journalist
and
jilm critic.
Mexico.
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back where they
started.
That may be bad news

the
new
three -year
for
some, but
WGA contract offers
various benefits for the 4,000
member
non-members who
get contracts based on
standards.
Most of the gains revolve around
increased residual payments for work that
airs on cable and in foreign countries.
There are also new stipulations for residuals for work distributed on the Internet or
through video-on-demand services, and
writers,
and
for those
WGA
by the third
same
year,
Fox
will start
residual rates as
paying the
NBC, CBS, and
ABC.
SAG's
residuals,
issues
were similar in terms of
but whatever the details of the
resulting contract, actors are not likely to
see
it
as
some kind of grand
victory, like
the writers are able to claim about their

contract. That's because the guild lost
some of
its
negotiating power
when
the
WGA settled, and also when SAG won

big strike victory in
tled a
new
industry.
October when
it
its
set-
contract with the advertising
Beth
Pinsker
mark's Director of Publicity and Promo-
The Landmark brood
tions.
currently in-
cludes 52 theaters, housing 166 screens in

17 markets.
November
Two new
in
Manhattan's East Village.

&
SHOT THROUGH THE HEART
February of 2000 and
tumultuous indie film
years of the
11
boom
with great success (see that Oscar
but
for Sling Blade),
make
couldn't
it
it
through these troubled financial times. In

late June, the
of
company
laid off almost all
275 employees and shut down oper-
its
ations (except a few projects at the post-
production
Guns For
facility,
company's year- old film
launched films
Berlin
The
gone
is
series
The
Hire).
which has
Croupier and ]udy
like
trouble
when TorontoThe Shooting
started
based Itemus Inc. bought

Gallery in
November 2000 with
get your
tries to
Wildbill,
won
Best
Best
possi-
The
wind of
chill
whose film American Cowboy

Documentary at the April 2001
In early June online short film and gam-
festival, cite a positive festival
experience.
ing site
of
its
AtomShockwave axed
salute the [festival] for bringing togeth-
"I
and international
er a plethora of U.S.
HYPNOTIC
filmmakers," says Tania Wildbill. "Film
what you make of them.
festivals are
not up to a
festival to
make
It's
a miracle hap-
for the filmmaker."
NYIIFVF [www.nyfilmvideo.com]
take place in
New
The AtomShockwave decision comes

six
months after a much-
will
York, September 7-17.
Daniel Steinhart
only
heralded merger between the two online
The company
successes.
layoff figures, but
LANDMARK THEATRES:
Now Under Old Management
chain
is
re-entering the exhibition fray
with fresh legs and familiar faces. After
Filmmakers are once again asking

questions about the 9-year-old
Independent
International
Video Festival by circulating

high fees and sales
The
shorts,
New
York
if
the film
the competition
nonrefundable
a high fee
is
as
not accepted into
$30
to $40.
executive
is
to
pay
for screening
rooms.
of services
package deals varying from $600 to
$8,000, depending
booth rental
on the combination,
for the
market held
Madison Square Garden or

agent duties at Cannes,
in
quasi-sales
MIFED, and
the
American Film Market.

Opinions vary wildly on the
New
is
proceedings.
ny.
back
at
festival,
York, and once a year in L.A.
Filmmaker Nathaniel Coutens, whose
which pur-
President,
respectively,
as,
and
Landmark
Executive
is
the
Vice
looking to the
fire,"
shorts
like
cities).
probably shift
content distribution and

animations and games.
sites.
The new 37-person
Hypnotic,
venture,
combine
will
market
and
innovative
its
its
established distribution channels
the phoenix rising from the
exclaims Michael Williams, Land-
Paul Power
ERRATA
In
the June 2001 issue, Yolonda Ross'
misspelled
name was
"Breaking Out" and on the cover. The
in
production company behind Stranger Inside should
have been identified as C-Hundred Film Corp.

In
"Coming Home," the correct
ures for the
Blockbuster and
chains are 5,200 and

Jacobson's
My
1,820,
"The
store count fig-
Hollywood
Video
respectively.
Nora
Mother's Early Lovers should have
been identified as a dramatic

In
future.
"It's
now
to over 100 outlets.
Richardson and Bert Manzari
the helm
will
maintains that
these
Also in June, the merger of NibbleBox

and Hypnotic, two more animation and
and
Now, with former Landmark execu-
tives Paul
its
it
in
gram, with Hypnotic's 400-title library
chased the remains of the merged compa-
President/CEO
staged three times annually in
(although
writer/producer/director mentoring pro-
Landmark was then
bailed out by Oaktree Capital,
activities into
would't confirm
closed offices in L.A.
remain
syndicating
college
theater circuit) in 1998, the merged company went through subsequent bankrupt-
cy
it
Nibblebox's strong position within the
LAN DMARK
THEATRES
opposed to normal
NYIIFVF
to
New York
named
is
festival also sells a variety
which
(the nation's largest specialized
Film
director Stuart Alson, the reason for such
like
Landmark
Cinemas chain purchased
and
e-mail on its
festival fees of
According
in
Silver
$300 for features,

and documentaries, which is fully
refunded
The
the
tactics.
application fee
and
personnel
AtomShockwave
The beleaguered Landmark Theatre
QUESTIONING A FESTIVAL
two-thirds
employees.
and run by Larry Meistrich. They never

found a buyer. Meistrich is expected to
is
blowing through the online film industry:
the plan
Beth Pinsker
fiscal rectitude
Cedric
and
Tania
of spinning off the film division, founded
continue producing.
v
6
Scott
Castle
festival
money wherever
Filmmakers
ble."
pen
as well.
won
Cinematography, believes "the
in
ONLINE MOVES: Wired,

Spliced, and Unplugged
feature Devil's Playground screened at the

festival in
The Shooting Gallery made it through
open
theaters
Bethesda, Maryland and
Brain
is
fiction film.
Nonlinear
Editor,"
Tom
Barrance, the director of Media Education Wales,
was
incorrectly
named.
AugustfSeptember 2001
THE INDEPENDENT
11
You
shoot
Hmm,
number.
Dear Sin Unfortunately,
100,000
Have
how
sum. Wonder
answer
let's
to Reject Your Festival

BY Kati e Cokinos
small
ience of making
circuit as
army of
director.
my
debut on the
festival
Knowing
that
my work
you $50 and you're

ure mark.
me
closing in
on
the six-fig-
the
money on?
Renting theatrical quality
projection equipment for 16
The filmmaker (and author) starBfin

Portrait of a Girl as a Young
CaF
mm prints.
b.
connect-
However
make another movie.

feel like pulling
my
out
moviemakers
work with audience members.
My
the
hair or
c.
experience with film programming

predates
pre-selection
judge
for
Cinematexas, and spent
my work
was a
SXSW
and
'90s
five years as the
star
small moments.
At many
film festivals
much
attention paid
there seems to be too

to appearances,
the
a Girl as a Young Cat
num-
to be submitted to a large
first
ber of festivals.
16mm
"no-budget"
60 minutes,
"featurette" running
is
the
is
long-format film I've directed, and
a personal film, shot in black
and white,
plot,
and no drugs or violence. In other
words,
unwittingly created a recipe for
rejection.
festivals
alone.
based on
as a feature
the shorts.
cept prints
I
length and format
Some programmers
one -hour narrative
gram
its
many
consider a
to be too short to pro-
and too long
Many "big"
on 35mm.
to run with
only ac-
festivals
got into festivals, but just being accept-
ed didn't necessarily
mean
that
class treatment. Earlier this year
at the airport
by a
festival
got
was met
volunteer
first
who
my
did not think to hold up a sign with
name on it. Quite a

before we found each
bit
of time went by
other.
When
asked
her what the problem was, she replied that
my
husband, infant daughter, and
I,
"didn't
look like film people."
"What,"
people look
was tempted to
like?
money, and show business
are reflections of these awful trends in

society at large.
Should we not smile,
Then
to
there's the policy of charging
$40 or $50 in entry fees, which bought

the chance to have a copy of my
movie viewed. But
as a former festival
am scared to think about the peowho pulled my film from boxloads of
juror,
VHS
submission tapes. While
tried to get
it is
utes
if I
fear
is
don't respond to
But
it.
min-
my greater
some
that the judge was
e. Partial
carpets,
four-star catering.
rebates of excessive entry fees to
unsuccessful applicants.
seen Lola or
Sa Vie or even Red River
(in fact, this
happened
at
one
festival,
but luckily
was
saved by the intervention of the head pro-
grammer)
times,
me
form
in
said,
cerns are far from
when you con-
trivial
was rejected
lots
letters. Invariably,
"Thank you
over 2,000 entries
the letters
for submitting
this year.
We
your film
received
Unfortunately
all
about celebrating film and giving movies a
chance to be seen and discussed away

from the pressures of the entertainment
mainstream.
If
audiences are hustled out
before they have a chance to ask the

director a few questions,
look at chunks of dust,
if
hair,
they have to
or even burn-
ing celluloid, and (perhaps most depress-
wasted on out-
ing) if precious dollars are
right
celebrity
worship,
the
festival
becomes something else and not

nice something else, either.
Please don't think
ably
one of the
me
bitter.
least bitter
directors you could ever
and the
ed
a very
am
prob-
obscure movie
hope
to meet,
film festival scene generally treat-
me and
Portrait
kindness. But
and lots of
and the decisions were relayed to
Portrait
(n:xdmsuv jodiioQ)
These scheduling and projection con-
19-year-
who had never
am
with a good deal of

worried and sort of
sad. If film festivals forget their true pur-
pose completely and become
another
just
facet of our nutso pop culture,
drive
they'll
away the people who love movies
more than they love the

the movie business.
idea ot being in
your film was not chosen." Putting aside

the unanswerable question of
number of entries has

telling,
start
know how tempt-
to eject a tape after the five
old volunteer
Vivre
always
through every tape from
warding in between),
ing
(with the occasional fast-for-
to finish
wet nurse?"
was one of those perfectly
up
me
avoid sunlight, wear more black, hire a
It
complete
red
limos,
sider that film festivals are purportedly
to the blah blah film festival.

ask, "do film
and
paparazzi,
most of the things film

do that drive filmmakers crazy
festivals
ple
In fact, the film was ineligible for
intelligent
of yesteryear,
hierarchy. In fact,
Portrait
with no professional actors, no tangible
and
gala party honoring a
with
Society.
Portrait of
d.
Managing Director of the Austin Film
first
by and
letters written
sensitive
adults.
as
Throughout the
a filmmaker.
Form
for
festivals actually
let
discuss their
starting a fistfight.
and
times can be
starting
spaced to
process of reaching those audiences often
made me
Extra time for screenings so
that
on and
the confidence to go
of them
What do you spend
ed with tangible, breathing film-goers

gave
many
people,
broke and seriously indebted, have each sent
exper-
an unknown, penniless movie
spent? Just for fun,
it's
question with a pop quiz:
this
a.
Nothing quite compared to the
50 times 2,000 equals
as in dollars. That's quite a tidy
not being chosen,
to
let's
what a high
do with the film
play
with
Katie Cokinos
living
is
a "dependent" {Ummakei
m Brooklyn, NY
her 6-moruh oil baby
Herlatestpv
girl,
uhi
hiring her
that
daughter's nap times, she
is
writing her next film.
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y^J. y.
'
UUJ
THE CAN-CAN AT CANNES

are lavish while the rest of the world
focuses on sex and death.
The Americans
by
The
American
selection
Barbara Scharres
the tent was limited to accredited press
at
and VIPs.
Cannes, independent or other-
Others watched the proceedings on
wise, has in recent years disap-
pointed American
leans toward
The
critics.
name -brand
festival
directors, stu-
Coen
still-empty
brothers, represented this
year with The
Man Who
little
first
Wasn't There,
La
Pizza
some of
Kollek {Queenie
in Love),
Cumming and
Jennifer Jason Leigh (The
Anniversary Party), Arliss Howard, Scott
McGehee and David Siegel, and Wayne

Wang (The Center of the World) discuss
sitting at the tables at
a traditional first-night hang-
that a dozen
Michel Gondry (Human Nature), Alan
night of the festival, a
out for American journalists
demanded
seats be filled with
Amos
close to
clutch of critics and a film buyer
were among those
VIP
the waiting throng so they could listen up
and David Lynch, with Mulholland Drive.

Following the press preview of Moulin
Rouge on the
away.
few minutes into the program, panel
chair Roger Ebert
dio films, and old-time favorites including the
many were turned
video nearby, and
questions relevant to the production of
feeling
term
cynical about the big "American" pre-
"independent spirited"
miere we'd just seen. Walking along the
independent having long since been com-
old port later that night in our jet-lagged
promised into oblivion in a Cannes con-
state, we watched a bevy of leotard-clad

dancers rehearsing a can- can number in
text.
front of the newly constructed full-scale
panel
facade of the Moulin Rouge for the film's
Cannes, accounting
opening night
party.
What
other specta-
54th Cannes International
cles did this
Film Festival have in store for us?
The world premiere
One
selections,
was that they reflected a
it
long-prevailing French fascination with a
even
stereotypical,
of Shrek, the lavish
American
culture.
Dreamworks animation screening in the

competition, for one thing. At a press
Cahiers du
screening for about 3,000, Shrek got pro-
noirish-themed
longed applause and unrestrained shouts

of approval and joy from
international press
It
audience of
its
and market delegates.
was not hard to see why. Like
this
it
or not,
was a stunning example of the magic
of the Hollywood cinema at
sobering reminder that
it
its
is
best, a
neither
money nor advertising nor hype alone

that has made it possible for Hollywood
view
iconic,
The
Cinema love of the dark
was manifest,
of
ghost of that old

side
too, in the inclusion of the
Coen and Lynch
films, as
Sean Penn's The Pledge in the competition, Abel Ferrara's R-Xmas and Todd
well as
Solondz's Storytelling in the
Regard section,
and
Arliss
Un
Certain
Howard's Big
Bad Love and Scott McGehee's and Davis

Siegel's The Deep End in the Directors'
Fortnight section.
The Cannes audience was
also listening
deliver the entertainment goods in uni-
had to say more

carefully than usual. There was a time
when the annual panel of American directors, now produced by the Independent
versal language.
Feature Project and sponsored by
to
dominate the world
tury,
for almost a cen-
but the unquestioned
Commercial
rivalries
tectionism aside,
and
ability
to
cultural pro-
the French have an
abiding love for Hollywood cinema and

its
genres.
If
cohesiveness
there was any

to
this
year's
thematic
American
to
what these
directors
Channel,
Independent
Film
obscure
congenial
event
but
was
the
an
lightly
attended. This year a compressed
mob
gathered outside the Variety pavilion more
than an hour
in
advance, and admission to
is
films,
the
industry observer noted that the
the only "Sundance -like" event at
increasingly
for the fact that
become
it
has
a rallying point for
young Americans
at the festival. Early dis-
cussion centered
on the value of promo-
and the
tion,
difficulty of releasing a film
without big money behind
it.
Cumming
confided that his advice to young directors

is
to "get
famous
The Anniversary
friends," a reference to
Party's cast of best
dies that includes Parker Posey,
Paltrow, Kevin Kline,
bud-
Gwyneth
Phoebe Cates, and
Jennifer Beals.
The
discussion became more vital, but

more uneasy, when the inevitable
question of digital versus celluloid came
up. Wang commented, "I hate to see film
also
disappear, but
He
think
it's
in the future."
suggested that filmmakers take control
by establishing their
own grassroots
system
of distribution oi digitally-made productions,
which could include small
tion houses
at sites like
exhibi-
college campuses.
Kollek replied that the problem was not

digital,
big
and
said, "It digital takes over, the
companies
audience
will
take over
member ventured
Aukum Nvu-mlv. AVI
.1
too."
An
passionate
THE INDEPENDENT
15
It's
the details that
make
a light a Lowel.
based
on
design concept as old as an umbrella. Set-up
is
Completely self-contained,
Rifa
quick and simple and your subject
is
is
covered with
exquisite, diffused illumination. Available
in
750 and 1000 watts. What could be easier?
500,
>
defense of film and challenged the panel
with the question:
you want
"If
to pre-
vow
serve film, then everyone has to
shoot
do you solemnly vow
film,
on
their public vows, there
was
positive discussion of digital else-
where
MITIC
Cannes.
in
(Marche
Techniques
des
International
et
de
Einnovation du Cinema), a project of the

Cannes market, once again mounted a
large project that is part trade show and
part technical conference. In the words of
MITIC
executive director Jerome Paillard
"MITIC
in the project catalogue,
on
and
tool
method
focuses
technology as a filmmaker's
digital
cinema
digital
as a distribution
11
days included
not only the American directors' panel,
and
been through
ON
second
for the
in
The
fifteen
market.
Asian
new
festival
programmed
up the
from some high
Hou
recent upward trend." While
effects, financing,
profile directors
and
ings,
Millennium Mambo, Tsai Ming-liang of
rejected by younger viewers in search of
Taiwan with What Time Is It There?,

Shohei Imamura of Japan with Warm
Water Under the Red Bridge, and Stanley
Kwan of Hong Kong with Lan Yu.
Crouching Tiger, Hidden Dragon had an
apparent catalyzing influence on every
Asian marketing initiative. The Cannes
action and
in part to
nies
this year's
thrills
he
Now
reach.
the
is
beyond
something everybody can
it is
use as a goal."
A number of films appeared to be going

responded
12.5% growth
audience
international
the
after
Crouching
to
that
Hidden
Tiger,
Dragon. There were several copycat efforts
heavy participation of compa-
on
from Hong Kong, Japan, and Korea.
cheesy
display, including the incredibly
Flying Tiger, Leaping Dragon, with effects so
bad that you could see
PHOTO COURTESY FILMMAKER
the
and
wires
cables.
For the most part, the
visual
world
showreel screen-
have
will
to wait
until the latter part of
2001 to see the next

generation of films that
most
filmmaker was a
MITIC
useful of the
offerings for the low-budget
ital
"Oscar
says,
ultimate. Oscar was like a star
Ford Coppola.
Possibly the
admits
embraced by "the older generation," but
conversation with Francis
Chan
Hong Kong
not a box office success in
marketing and distribu-
tion, a plethora of digital
on the
Hsiao Hsien of Taiwan with
including
year, a pitch session,
on
stage
to
that Crouching Tiger, Hidden Dragon was
but also a conference on audiovisual law

focusing on digital, seminars
"We're trying to pick
revival; we're trying to capitalize
films in official sections, including
films
says,
and pieces and
bits
the
has
a very painful period of self-
he
reflection,"
the
presence ever, especially
market credited
for exhibition."
Presentations over
West. "The
THE INTERNATIONAL FRONT,

Cannes had the largest Asian
new look at promotion in

Hong Kong film industry
ers to take a
been discovered by the masses.
most of these directors were
While
much
yet
to
to use
film for your next project?
waffling
valuable aspect of Cannes which had not
^ jjyy
i|t|||
hope
independent
ing
series of dialogues in dig-
to repeat Crouch-
success.
moviemaking moderated by Peter
box office
These include
Tiger's
The Touch,
in pre-pro-
Broderick of Los Angeles-based Next
duction with Michelle
Wave
Yeoh's company, Myth-
Films.
Held
back of
in a tent in the
the Sony pavilion over four days, these
low
key, informal discussions
international
filmmakers,
evidently engaged in
of
first
ical Films,
Director Nanni Moretti
Son's Room.
It
will
(I)
won the Palme d'Or
be released by Miramax
Although Hong Kong had been a
experts ranging from directors of photog-
declining market
raphy with extensive digital experience to
with almost no participation
and producers
for dis-
steadily
presence since
1989,
last year, this
year 38 companies opened stands, screen-
being there, which fostered a friendly but
more than 20 films, and promoting

many more currently in production. The
Hong Kong government spent a reported
$3.5 million to set up its own pavilion and
auxiliary market stand, and to present an
serious atmosphere.
evening
cussion that ranged freely over technical
and aesthetic
asked
all
issues.
The
coordinators
those attending to introduce
themselves and indicate their interest in
From
that
featured
Western perspective,
Asian market
not
activity
longtime exhibitor whose
experience has included booking over 400

screens grossing over $50 million annually
Licensing Authority, cites the recent inter-
Blair Witch Project did a year earlier,
national prizes
seem that one had happened on
a
it
a quite
won
Happy Together and

the
first
impetus
by
Kar-wai's
Mood for Love as

Hong Kong filmmak-
In the
for
Wong
Tom
a driving force in acquisitions.
Brueggemann,
made tor
atmosphere, but also made
dled seating arrangements
this
all
was of interest but
inadequate lighting and hud-
the experts were completely accessible.
coven-like
summer.
tor
ses-
which are staged as showy events,

these were true working sessions at which
tent's
new swordplay fantasy by action master

now in post-production and
for
Hong Kong release in late
scheduled
ing
extravaganza
stars
Tsui Hark,
appearances by stars including Jackie

Chan, Michelle Yeoh, and Sammo Hung.
Eddy Chan, commissioner of the Hong
Kong Television and Entertainment
Unlike the directors' panel or pitch

sions
The
drama The
the U.S.
feature.
Broderick brought together a variety of
effects technicians
for his family
in
which
Yeoh and is directed by

Oscar-nominated cinematographer Peter Pau,
and The Legend ofZu, a
a small
audience of independent
many
production
the
drew
"I
Loews Cineplex Entertainment, says,

most distributors arc smart
think
enough
to
realize
that
Hidden Dragon played
thing
of
served
case."
He
freaky
success
not
marketed
brilliantly
Tiger,
in
someunde-
each
made
dis-
THE INDEPENDENT
17
deduces,
Crouching
a role last year that
"I
think
it's
Cî^^BSaSB
fsi
U D
4 J

t+f: 1212] 254-1
06
E:
studio4j@mindspring com
Discreet logic's
edit*plus
Combustion*
After Effects

3/4", S-VHS,
Hi8
Even skeptical critics were won over by Dreamworks' animated fairy tale Shrek.
trihutors
more open
to the richness
and
DEATH OR STRANGE
and torturous sexual relationships
FILMS FEATURING
wealth of populist Asian cinema and the
PticcJfat tie IrrJcpetrJerrl

In
the East Village
FIERCELY
*>
possibility that
it
budget historical epic Suriyothai in the
er
Meanwhile, Miramax acquired anothThai film, Tears of the Black Tiger,
Un
the festival.
with
Certain Regard section of
The
colorful, farcical film
Western
Spaghetti
overtones
screened in a 110-minute version, but
Miramax
will release
The
ing.
its
contemplated
repercussions
Ultimately
Nanni
fully
of Arms,
Profession
death and
as
was
it
The
Moretti's
among
Son's
the
liv-
director
Italian
Room, a power-
emotional examination o( the
effects
of a boy's accidental death on his family,
it
brow moments before the winner was

announced, Moretti, who is better known
for intellectual comedies, was awarded
the Palme d'Or, the second Italian director in recent years to be honored.
Foremost among the sexual films was
an alternate
in
on
video monitors nervously mopping his
Austrian director Michael Haneke's The
Championing another Asian film,

Brueggemann says, "One that was off the
radar more than I expected, which has
some chance of being a specialized film
Piano Teacher, depicting a constricting,
that might appeal to a younger, broader
it
audience,
down
is
a Japanese film called Palse
sadomasochistic
between
the film
is,
all-out
gained some attention at festivals in the
sion,
When
described the
courtship
of
sorts
a repressed Viennese pianist
and
her adoring male student. Sensational as
from director Kiyoshi Kurosawa, who
still
represents a toning
of Haneke's customary themes of
moral violation and sexual aggres-
which made
earlier films like Benny's
Video so difficult to watch.
The more mid-
film favorably to distributor friends as a
dle-of-the-road The Piano Teacher has a
could
make
some money, they were no longer
saying:
good chance of becoming an art-house

hit, especially bolstered by Cannes awards
possible
It's
acquisition
that
Japanese genre film
interested. People
we're
no longer have
not
to be
convinced that something from Asia has

potential."
THE INDEPENDENT
Hirokazu's
diverse
90-minute version.
past couple years.
18
Oliveira's
as
Manoel de
I'm Going Home, Kore-eda
Distance, and Ermanno Olmi's
exceedingly
that found favor with the jury. Seen
market.
from the
were in no short supply. Films
could be translated to
American audiences."
Brueggemann mentions that for the
first time this year in Cannes he has seen
distributors paying attention to Thai cinema, which he describes as incorporating
influences of both the Hindi and Hong
Kong film industries. The Thai industry
was promoting a sample reel of the mega-
for best actor to
actress
Grand
The
to
Prize to
press
Benoit Magimel, best
Isabelle
Huppert,
and the
Haneke.
grumbled on the night of the
awards, but this was not a year of screaminsults,
">-7
video feed.
greenwich sr
new york.ny 10013
375
and boos in the

Debussy auditorium where most of the
press watched the ceremony via live
ing
hoots,
The
jurors ignored
Trailers
.:
gots-
'
www.islandmedia.tv
Documentaries
Jean-Luc
Godard's return to eccentric brilliance
wV^.
.,
tribeca film center
ie
EDITORIAL
"
SOUND
I
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AVID offline/online
AV R 77/uncompress
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DESIGN,EDIT,MIX
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oo
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hîs
Billy Bob Thornton, Frances McDormand, Tony

Shalhoub and James Gandolfini star in The Man
Who Wasn't There.
PHOTOS COURTESY FILMMAKER
Relax and
call
with Eloge de L'Amour, as well as French
master Jacques Rivette's Va Savoir. They
gave no nod to the Bosnian/Belgian co-
production
No
Man's Land by Danis
Tanovic, about which there had been so
much
excited buzz.
The co-awarding of
Coen for The Man
Best Director to Joel
Who
We
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August/Septembei
2001
THE INDEPENDENT
19
The Canadian film Atanarjuat the Fast Runner by

Inuit native Zacharias Kunuk won the Camera d'Or.
who
dent Liv Ullmann,
could do nothing
She committed cardi-
right in their eyes.
nal sins for a legendary actress

incredibly
Her
dowdy and
cryptic opening statement that
some
members admired
films
of her fellow jury

that
looking
flubbing her lines.
"fill
blame
me
with anger" gained her the
and
for instigating the jury's safe
unadventurous choices.
ONE THOROUGHLY SATISFYING

many in the closing of
Cannes was the awarding of the
Camera d'Or, given to the best first feature, which went to a film that is also one
of the true finds at Cannes 2001: the
THE
event for
Canadian
film Atanarjuat the Fast
Runner
by Zacharias Kunuk, a native Inuit. This

film,
is
shot in widescreen digital Betacam,
a towering technical achievement and a
triumph of aesthetic
The almost
vision.
three -hour story of sexual jealousy and

family rivalries
is
set in the self-contained
cosmos of the Arctic in an unspecified era

in the past,
and
based entirely on oral
is
and ancient legends of the community. Kunuk, whose previous films conhistories
sisted of documentaries
and shorts
made Atanarjuat with
TV,
for
help of a
the
Canadian government grant meant
He
encourage native production.
an
to
utilized
all-Inuit cast of largely non-profession-
al actors,
The
and
film
his
was
but Atanarjuat
crew was
initially
is
90%
Inuit.
seen by very few,
one those
films that gal-
vanizes festival veterans with the
thrill
of
and word-of-mouth spread fast.

Kunuk accepted his award and
discovery,
When
gave the
those rare Cannes

is
acceptance
festival's first-ever
speech in the Inuit language,
moments
it
in
reminded that despite the
was one of
which one
and
glitter
the politics, the jockeying for recognition
and the marketing, that sometimes

still
it
is
only about the art of the cinema.

Barbara
Scliarres
is
the director of die
Siskel Film Center, School of the
Art
Gene
Institute of
Chicago, and a freelance writer.
20
THE INDEPENDENT
Q.*jsyjf-
/"-,
cracrrrT
crowded world of 150 plus (and growing)
such
Southern Hospitality
The Miami Gay and Lesbian Film
MGLFF
though,
mood music
each screening
advantage: "Miami
way
and
the Miami Gay
a bilingual city
center for
is
media production and

entertainment.
filmmakers to
that
Rosenberg leveraged
backyard resources
his
filmmakers
to
advancement of
gay and lesbian films? Concentrating on Hispanic and Latin
into as
film.
Univision's
for the
The
expanded
festival
blast
many
Spanish-
language media out-
this
May
up
hosted 35 film guests
America
man
(Above) A gay
gently stirs things

a small
in
from
as possible,
lets
year to a 10-day run (April 26 to

9),
the
is
bring your
to
work."
other way
festival's
know
you are gay and
place
fantastic attention to
The
if
want
Latin, then this
of standing out as a premiere
venue
America,
to Latin
has grown quickly over
not hospitable.
if
and
detail.
is
Spanish-language
is
the past three years and has

managed to distinguish itself in
many ways at once, not the least
of which is stellar accommodations
itself
The
nothing
festival
with gay
that serves as a gate-
for
and Lesbian Film Festival
for Latin films
themes. Rosenberg points to an obvious
Hand-rolled cigars, all-day

hosts for guests,
kind,
its
uniquely positioned to
is
be a premier venue
Festival gets posh.
Harriette Yahr
BY
festivals.
Unlike other festivals of
Despierta
(think
Hispanic Good
Mom'
ing America),
whose
Montana town in
Tom Bezucha's
signal
sported three U.S. feature pre-
Big Eden, winner
Latin America, to spe-
mieres
of Best Feature.
(up from
as
15
well
award-winning
and
year),
last
of
slate
as
like EI
Shari Carpenter,
who worked
into
newspapers
cialized
films.
Argentmo and
O Brasilio Connection.
Shari Carpenter,
a former script
as a script supervisor for Spike
crosses
Among
the
films
supervisor for
Lee
for 12 years,
came out from
garnered atten-
that
Spike Lee, pre-
behind the scenes to premiere
miered her film
tion in these venues
her film
Kali's Vibe at this year's
Kali's Vibe at this
were: La Vida Loca, a
festival.
"You would have no
year's MGLFF.
crowd-pleasing shorts
PHOTOS COURTESY
idea that this festival
only
is
three years going," she says.

so
well
and
organized,
attention
to
details
Even seasoned
of Strand Releasing was

totally impressive,"
Drawing from
filmmaker,
he
his
Marcus
won
over:
Hu
"It's
own
obsessions as a
Robert
director
Rosenberg created an "event"
for every
Washes of colored light lit the

walls of the Colony Theater, a 465-seat
Art Deco-era venue on South Beach.
screening.
Community co-sponsors helped

duce the
films,
such
nization leader for
intro-
as a gay rights orga-
Tom
Shepard's Scout's
Honor, which chronicles the Boy Scouts

of America's anti-gay policy.
And
then
there was the soundtrack to the festival.
Filmmakers
were
Rosenberg's
efforts.
impressed
with
"To come into a the-
says
Mary Guzman,
New
Puerto
director of Desi's
Money)
Girl.
"You
just don't
hear that."
The
way
to the end, giving out
pop-artist
all
the
framed prints by
Britto
award
as
Rico;
a violent
strangers
Juan
Serrano.
an
Emmy
award-winning
Luis
As an
Iborra
in
Doc-
jury
award
umentary Film
Global
Village
Festival, runs the
with the goal of positioning
it
MGLFF
as a stand-
out stop on the gay and lesbian film

val circuit. This
is
no small
festi-
task in today's
Garci'a-
interesting addition to the festi-
Rosenberg wanted
the
0, a
Madrid, from Spain's
and Yolanda
val,
of
and
(Burnt
comedy about the lives of 14

whose paths cross on one sultry
filmmaker (Be/ore Stonewall) and former

director
U.S.,
and sexy gay Bonnie and
summer afternoon
and
Rosenberg,
the
Quemada
master Marcelo Pineyro; and Km.
delightful
plaques, reflecting a combination of class

style.
Plata
Clyde movie from award-winning Argentine
kept up the perks
festival
Brazilian
filmmakers from Spain,
was amazing,"
ater with Shakira playing
Looking for a
says.
festival
by
Latin gay and lesbian
their
festival-goer
work
together
"It's
extraordinary."
is
program that brought
FILMMAKERS
to
to create a special
honor Latin filmmakers. The
idea was tabled after a debate that reflects
the complexity ot
South
Florida.
the
word "Lit in"
As Rosenberg
explains,
"we
couldn't agree on a name." Options tor
August Scprcmlvr 2001
THE INDEPENDENT
21
AT THE MOST INNOVATIVE AND DYNAMIC

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WE
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CLCCICLLLM
The most intensive and thorough hands-on
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EQUIPMENT
Well over 200 Arriflex
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Cî^^sSED
award names included best Latin Film,
and even
SON VIDA PICTURES
best Latino Film, best Hispanic
41
American/and
Hispanic/Latin
U.S.
Problems
Spanish filmmaking award.
UNION SQUARE WEST

NEW YORK CITY
with these award names range from obvi-
ous inaccuracies
Brazilians
like
aren't
Hispanics to loaded issues surrounding

cultural identity.
"The term
'Latino'
not popular in
is
Miami's Cuban-American community,"
Rosenberg
says.
Rosenberg and
committee cordially
his
212 242-9585
respected the sensitivity of this issue and

simply chose to give out a special jury
award
outstanding achievement to
for
Cesc Gay's Krdmpack (Nico and Dani),

from Spain, without attaching a Spanish
reference to the award.
Tom
In other juried awards,
Eden won best
Big
surprise after
to date;
winning nine
Tom Shepard's
best documentary;
Bezucha's
fiction feature
festival
no
awards
Honor won
went to
Scout's
best short
(212)614-7304
Guillem Morales' El Cuarto Oscuro {Back
Room, Spain), an
explicit tour
through a
back room of a gay bar in Barcelona. The

audience award went to Km.
Dunye's Stranger
jury
special
Inside also
award
Cheryl
0.
took
home
24 hour access
1:1, avr
77
final cut
pro
now
noho location
available
outstanding
for
achievement.
Next year the

moving
festival
considering
is
venue
to a larger
for
key nights
and adding simultaneous screenings

this year several films
pro tools mix plus

full
sound design
voiceover and
ADR
were rejected sim-
ply because of lack of space.
Rosenberg
sound effects
library
agrees that to be considered a premiere

festival,
Miami must have the venues
program
at the
And
all
major gay and lesbian film
regarding those festivals
San
in
Franscisco,
Angeles, and the
Gay Film
to
CITYSOUND
^^
the quality works that screen
Festival
New
festivals.
PRODUCTIONS
Frameline
Outfest
Los
in
(212)477-3250
York Lesbian and
the MGLFF
is
sched-
uled before them, gently forcing filmmakers to look seriously at
Miami
for their
premiere.
Jen Chaiken, one of Big Edens producers,
"There's an excitement there,
says,
and the audiences
are really jazzed.
see
no reason why they shouldn't be one of

the top festivals. There's
for
room
in there
The Miami Gay and Lesbian

is
on the
Web
at
Film
is
Day
run by
its
members,
New

film
and video
Seeking energetic
independent makers
for twenty-
five years.
OF SOCIAL
www.miami-
Call
gaylesbianfilm.com.
Hariiette Yahr
is
Owned and
documentary
them."
Festival
NEW DAY FILMS
ISSUE
DOCUMENTARIES FOR
415.383.8999
NEW
MEMBERSHIP.
a writer, filmmaker, and film

professor living in Miami.
August/Septembei
2001
THE INDEPENDENT
23
The Independent Feature

:
Project
Presents the 23rd Annual
FP
MARKET
September 30 - October
New York
5,
2001
City
N INITE
OSSIBILITIES.
START THE JOURNEY NOW.
Join the industry vanguard and
discover new work from writers,

directors, and producers setting
tomorrow's standards - today.
Attend the original Market devoted
to American independents, featuring
works-in-progress, scripts, shorts,
features, and documentaries.
COMPANY REGISTRATION
Forms
IFP,
New
at www.ifp.org, or
104 West 29th

York,
contact
Street, 12th Floor
NY 10001-5310
P:
212.465.8200
F:
212.465.8525
E:
[email protected]
DEADLINE
AUGUST
1,
2001, to be
Industry Directory
advanced
and
mailings.
listed in
to receive
our
Shakur and the imprisonment of Knight

brought the label to
knees. Director S.
its
Leigh Savidge chronicles the
Row
Death
who
recounted by the people
film market there's no time for slow builds. With
Cinemax Reel
check
mind "On View"
this in
and
offers shameless plugs for current releases
of independent
you'll
support them.
3).
movie based on Daniel
Clowes' brilliant comic book marks director
move
Terry Zwigoff's
after
widely praised
his
Crumb. The
fiction
to
FOR YOU SOMEDAY.
filmmaking
1994 documentary
story follows Enid (Thora Birch)
camera.
The stunning
taries, this series
(led
Caruso and Stephen Gevedon)
35-minute docu-
India, a
hired to
As
the crew struggles to meet a tight deadline,
man
each
is
drawn deeper into both the

and
own
his
asyInterior
dark secrets.
L.I.E.
(Lot 47
Films,
Sept.
Michael
Cuesta
uses
the
metaphor
as a
New
guished
Howie
7).
Island
in this gay
coming-
MoMA's
Directors/New Films
boy, lets his best friend
lead
him
astray into a
Gary
Tower in the Black Hills of Wyoming from

the documentary In the Light of Reverence.
plans for
Bombay-based laughing
series.
Spectre of
(Billy
Kay)
mix of suburban daring

his
8,
Hope
and novelist John Berger against
ous, but also seductive, double
ivaydowntown
Then Howie
a danger-
(Lot 47 Films, Aug. 10 in
backdrop of
ning filmmaker Kirby Dick presents Chain
Sundance
at this year's
and was created by students who were
provided with video cameras for an entire year

to capture images of
P.O.V.
life.
Salgado's photographs. In Sept., award-win-
Festival
been leading
The
renowned photographer Sebastiao Salgado
Camera, which played
caught by Big John (Brian Cox).
Debuting
conversation between
sets a
borhood homes,
until they crash after getting
and populari-
clubs.
director Paul Carlin's Salgado:
friend race toward danger, ripping off neigh-
learns that his pal has
two recent
ty of
on Aug.
and sexual experimentation. Howie and
Devil's
investigates the origin, ideology,
distin-
(Paul Franklin Dano), a lonely, mother-
less
Fabrizio Filippo stars
life:
Gary Burns' ivaydowntown.
Director
Long
of-age tale that screened at
who have few
The
Premiering in Aug.,
by David
is
clean out an abandoned mental hospital.
Expressway
high school graduates
documen-
covers a wide range of subject
styles.
Laughing Club of
in
(Scarlett Johansson),
show-
a diverse
visuals heighten the ter-
an asbestos removal team
ror as
lum's mysteries
and Rebecca
Always
HD
employed the new CineAlta, Sony's 24p
Ghost World (United Artists Films, Aug.

highly anticipated
it.
mentary by acclaimed filmmaker Mira Nair,
THEATRICAL
The
lived
of compelling independent
case
"films clOCl VTCieOSinthe
WHO KNOWS MAYBE THEY'LL DO THE SAME
Now
in
urban teenage
life.
(PBS, Aug., check local
listings).
14th season, public television's
its
the future outside of hanging out, scrutinizing
NY; Sept. nationwide). Downtown Calgary's
award-winning
the town's eccentric characters, and frequent-
mazelike world of interconnected office build-
documentaries continues into the
late
ing such modern-day nightmares as a strip
ings,
with In the Light of Reverence
on Aug.
mall's
"authentic"
'50s
diner.
When
Enid
apartment complexes, and malls
setting for
Gary Burns'
who
is
workers
Buscemi), the
can stay indoors the longest. Shot on both
begin to
chang-
drift apart,
ing their friendship forever.
Happy
ital
Accidents
(IFC Films, Aug. 24).
Writer/director Brad
Anderson (Darien Gap)
sets this sci-fi
York
comedy
in
contemporary
where heartbroken Ruby (Marisa
City,
Tomei) meets
Sam
(Vincent D'Onofrio), a
newcomer from Dubuque, Iowa. They

fall
in love,
matic turn
traveler
whether
New
quickly
but their relationship takes a dra-
when Sam
explains that he's a time
from the year 2470. Ruby must decide
Sam
is
truly Mr. Right or
lunatic. In August,
the psychological
Films, Aug.
Anderson
honor
merely a
also premieres
film Session 9
10 in select cities), for
(USA
which he
bet a month's salary to see
video and 35
mm, ivaydowntown won
Canadian Feature
Festival
the
film about four office
befriends a reclusive record collector (Steve

girls
of
(Cinemax, Aug./Sept.,
Life
local listings).
matter and
hope that
fall
documentary
TELEVISION
Daniel Steinhart
IN today's independent
and
rise
in this controversial
at the
Maynor
Tower and Southwest landmarks such
Best
Four Corners and
2000 Toronto Film

at
to
Death
Suge Knight, Death
Row
take
look
Wyoming's
at
Mount Shasta
Devil's
as the
how
to see
Indians and non-Indians struggle to co-exist
with different ideas about
how
these sacred
lands should be used. Airing on Aug. 21, Life
(Xenon
Pictures,
Led by ex-bodyguard
Row
Records turned rap
and Debt captures the impact

globalization
of
economic
on Jamaica through director
Stephanie Black's mix
of
conventional and
artists
such as Tupac Shakur and Snoop Doggy
unconventional documentary techniques.
Dogg
into superstars. But by
Aug. 28, Frederick Wiseman's
"family values" advocates,
and
rappers were targeting Death

lent
1996, the FBI,

rival East
Row
for
business practices, controversial
and with allegations that the
label
Coast
its
vio-
artists,
School concludes RO.V's
classic
summer
lineup.
Library of Congress recently cited this
documentary
was started
I
with drug
14.
Filmmakers Christopher McLeod and Malinda
dig-
and Most Popular Canadian Film
Welcome
summer
who
the 2000 Vancouver Film Festival.
Sept. in select cities).
independent
series of diverse
Daniel
On
High
The
1< ,S
as a national treasure.
Stemhan
money. The shooting death of
is
assistant editor at Film
[ournal International
THE INDEPENDENT
25
(^^^)
doing,
and they thought
was
it
worthy
endeavor."
Downing
to
traces his taste for the twisted
two key developments in
his creative
The first came at age 10, when

Downing watched John Water's Pink
Flamingos. The second mind-blowing
life.
experience came during an introductory

film
class
New
the
at
School
in
Manhattan (where Downing attended

graduate school), taught by experimental
filmmaker Mike Kuchar.
"The
first
thing he showed us was a film
he shot of a guy shooting a gun up
his ass
and squirting out a fake blood enema,"

said Downing. "Kuchar acted as if this was
the most normal thing in the world to
show students on the first day of class, and
casually talked about
how
the scene was
think most of the class was horrified,
lit. I
and some never showed up

threw
all
the rules out the
just did exactly
Todd Downing has a thing for

His
first
animated
Fire Island, stars a
dolls.
Baby Does
short, Dirty
used and dirty baby doll
who holds her own against the film's

human stars. In his latest short, Jeffrey's'
Hollywood Screen
he manipulates
Trick,
go terribly and violently wrong
Ken
and one of the
doll
having
when
the
Billy dolls try
one of them
sex, only to realize
is
is
film
wildly funny, but
is
Downing
garnering attention because he's using
male
dike
with muscles and
worthy of
wearing
gay
parade and one
gay romantic comedies that have become
stodgy Ken.
so
dozens of
Billy dolls
life
urines
fig-
outfits
pride
to a
With such
director from
a retro technique to create serious con-
temporary
common
playthings, the 28-year-old
calls
Champaign-Urbana,
"I
Illinois
satire.
it
The
film parodies banal
over the
He
10 years.
last
a "critique" rather than just a film.
love the fact that
can entertain audi-
has been experimenting with stop -motion
ences that consume [the same films] that
animation and making a splash on the gay
I'm critiquing," says Downing.
film festival circuit. Dirty Baby, a
biting attack
on sex and drugs
9-minute
at the
vacation spot, was bought by First
gay
Run
His
critical
approach
New
zation run by
of their Boys in Love compilation of gay
tive director of
and picked up by Channel 4 in

England and the Sundance Channel,
shorts)
domestically, for television.
This summer, Downing

vals with Screen Trick, a
touring
festi-
10-minute short
35mm, and having even better

The film borrows its title from
shot in
luck so
is
far.
Tommy
O'Haver's
Billy's
Hollywood Screen Kiss but strays a
little far-
director
ther afield.
named
doll)
list
It's
Jeffrey
who's
crowd
less
about an ordinary guy
(played by a simple
buff and cool than the A-
(played
by ultra-butch
dolls). Jeffrey tries to
crowd
26
Ken
make
at the local disco.
it
Billy
with the in
But then things
THE INDEPENDENT
capital.org]
product so
York-based arts organi-
Ruby
Features for theatrical distribution (as part
Lerner, former execu-
AIVF
www.creative-
[see
The group
much that
liked the finished

it
many
gave Downing
Broken Hearts League to be worthy of

attention simply because gay characters
were
them
my
to
fund
this?'" says
did you
Downing.
pulled the wool over their eyes in
grant application, like
was making
a video
invisible
told
them
documentary using
the personal essay narrative genre
to
for
because, for
many
their
screen," says
add new and
and
lives
instead!
told
them
exactly
made
a sex-
with
dolls
what
was
on
his quest to
different representations to
the screen,
Downing
down more
of these "mainstream" images.
His next project
is
written by Flloyd, a
"It's
planning to knock
based on a radio play
New York drag queen.
based on a character
I
saw Flloyd play
He
Eleanor
lost
is
is
a middle-aged
her family and
grasp
named Eleanor
a couple of years
completely shocked the audience.
is
woman who
onto some sort of
absolutely hilarious
and
want
reality.
It's
horrifying. People
were actually pissed off at
he was.
has
desperately trying to
how
disturbing
to bring this character to
and hopefully have the same
gay male identity and sexuality at the
film
their
fantasies
Downing. But in
the audience," he says.
splatter
films
is
only chance to see someone attempt to
film
the millennium... and then
don't
"I
these
see
of them, this
explore the effects of consumerism on
ploitation
long.
so
who
begrudge people
ago.
'How
Billy's
Hollywood Screen Kiss and Greg Berlanti's
another round of financing for a third

"People keep asking me,
consider off-limits. There are audi-
ences that think gay films like
short.
"Like
You
More than just respecting Kuchar's aesDowning mimics his independence
who
get
to do.
thetic,
represent
one reason he
is
was able to secure funding from Creative

Capital, the
what he wanted
to respect that."
by critiquing parts of gay culture that
anatomically incorrect.
The
have
He
again.
window and
"I call it
effect
on
feel-bad
drag."
Aaron Krach
is
the editor of
magazine, a
new gay
Empire
quarterly.
Alex
Six years ago,
Mao
These
Barbie
films
Kenzie was living in the back
have toured across the
no
U.S. at various micro-
heat and rotting floorboards,
cinemas, o( course. But
trying to convince the city of
their
Vancouver that it needed a

underground,
for
venue
Blinding
of a dusty old building with
fixture
the
in
Light!! pro-
gram underscores the
experimental cinema. Today,
venue's independence.
he
The Blinding Light!!

may have programs in
screening triple features
is
of films starring Barbie dolls at

his
own
common
theater situated near
the edge of the
city's touristy
a year,
films
a step forward. Honest.
The Blinding
Cinema the excla-
The
goal
MacKenzie even abbreviates

the name as "The BL!!C"
of something
(beating
ground
mental
"Other spaces
those
above-
either screen only occa-
venues
sionally or feature
out
MacKenzie
at The Blinding
Light!! Cinema
years
more
Alex
after
failed to get the
in
beams Mac"What is most
realm,"
Kenzie.
Vancouver.
me
exciting
Moving Images (with the

similarly eclectic acronym of
curator
EEGMIES)
transcends and
of
off the
ers
ground,
screened programs
on Canadian
films
is
and challeng-
so diverse
ing that even the
most dedicated experi-
mental cineastes would be hard-pressed to

recognize the
course,
Todd
is
Haynes'
legendary
titles, artists,
or even genres
anorexia,
actors.
a heart attack after years of
which uses only Barbie

is
Susan
Included also
An
societal
doll that has perhaps
impact of the
haunted more
And
dreams than Chucky.

Barbie:
An
Stern's
Unauthorized Tour, a
documentary on the
dren's
dolls as
ele-
wherein director Lara Johnson takes a
ments. So one night you can take in
Fritz
page from Haynes' book and uses individual dolls to
For the past four years, the theater has
Vancouver Underground
who
wretched
also gay
Krist Novoselic, Crispin Glover, William
dichotomy).
and
Coupland
are
many quirky hipsters to duck

their heads in The BL!!C in the last year.
The Barbie films are one ot the bethe
aters' recurring special features.
One,
of
Behind
into a
Music-like
the
the
life
sad
life
of drugs and
learning
after
of
her
beloved Ken not only lacks genitalia, but
Film Festival. Michael Stipe, Nirvana's
among
falls
excess
is
Douglas
mockumentary about
Barbie,
"BY08".
tell
(a physiologically fascinating
The
trilogy
pixelvision short called
which showcases
is
supported by a
Bitch
&
quality
and
which refuses
is
quite
to be historicized
exists solely in that
moment
for that
audience."
This being Canada, McKenzie
able to
is
from the cafe in the lobby and the nomi-
better-known work and interactive
super 8
and exploratory
transformative
then
American Biography,
there's
tinual
supplement the revenue that comes in
also
come back
holing because of the diversity and con-
chil-
is
also hosted the
out-
often of a one-time-only performative
dominate the program. But there
own
sits
restrictive
who died from
Barbie Nation:
few nights later with your
the
nature of their work. Their work
some of the films. Works like local

videomaker Meesoo Lee's Bad Hair Day
and short filmmaker Trent Harris' The
Orkley Kid and Plan 1 From Outer Space
of
Lang's Metropolis and then
The Karen Carpenter Story, the

banned biography of the Carpenters star
Superstar:
and videos.
line-up
as
the filmmak-
frameworks of pigeon-
six nights
a week, with a focus
for
is
whose work both
side
the 100- seat microcinema has
work
in the art-house
similar Edison Electric Gallery
Gibson,
chance
artists a
to shine.
North America
two
film for
would
it
or part-time
MacKenzie
The
dose
little
and give experi-
wise,
of the only
across the continent). Since
1998,
have never had other-
full-time underground screen-
ing space in
to give
is
mation points are necessary;
title
comes
it
Vancouver
claims the
fit
out looking different.
MacKenzie's
Light!!
when
into a slate of over 300
Gastown neighborhood. This

is
other
with
but
places,
Butch,
plastic dolls in "a lesbian
nal admission fee with generous
at least
compared to the United States government grants for the arts. "The bureaucracy can be a pain in the
well worth
it,"
but
ass,
still
it's
says MacKenzie. "We
get
some funding from the government
at
municipal, provincial, and national levels,
but the majority of our budget
from
ticket
For
and coffee
more
information
Blinding Light!!
still
comes
sales."
Cinema
about
The
see www.blind-
inglight.com
fantasy fresh out of their store packaging."

Past years have also featured a
roundup of
Barbie commercials through the ages.
Will Leitch
is
a senior editor at (ronminds.com
and a freelance writer
August September 1997
m New
York.
THE INDEPENDENT
27
hen NBC's Homicide.went
off the air
Life
on the Street
two years ago,
it
threw a
independent film directors out on the
back to scramble
Would
lot of
TV
Reeves (The
Pallbearer), Joe Berlinger (Paradise Lost),
Kopple (My Generation), Brad Anderson
Buscemi
(Trees Lounge), Lisa
(Session
Cholodenko (High
Barbara
9),
Art),
Steve
Michael
fast
workers
who
bring a particular aesthetic to the
small screen.
Roger Nygard
street,
for years for feature budgets.
show ever again boast a roster or

talent like Nick Gomez (Laws of Gravity),
Mary Harron (I Shot Andy Warhol), Kathryn
Bigelow (The Weight of Water), Ted Demme
(Monument Avenue), Alison Maclean (Jesus'
Son), Michael Radford (II Postino), Matt
a
shows get
Mind
Days
(Film: Trekkies, Six
"On
of the Married Man.) says,
TV:
in Roswell, Suckers.
a low budget film, time
is
commodity you have. The better use you make

of it, the more set ups you can get, which helps you with more
choices in the editing room." Mike Binder, executive producer of
Mind of the Married Man, debuting on HBO in August, explains,
"My concept for the show was that each episode should feel like
the most valuable
its
own mini-movie." An independent filmmaker

he
himself, Binder
chooses to work with directors
like Nygard
The 24 Hour Woman, Dogfight. TV: Third
Watch, If These Walls Could Talk, Murder One.) in order to further
says
specifically
and Savoca
(Film: Janis,
Director TV
Indie talent learns to
work on the small screen.

by
Lehmann
Tamara Krinsky
Myles
(Heathers),
this aesthetic.
Connell (The Opportunists), Keith
Miguel Arteta (Film: The Good
Gordon (A Midnight Clear), and

Whit Stillman (Metropolitan) 1
Chuck & Buck, Star Maps.

TV: Freaks and Geeks, Snoops,
Perhaps not. But

utive producer
now
Tom
Girl,
Time of Your
that exec-
Fontana
is
no
longer cornering the market, other

series
have begun
What was once

that
it
TV
many
for
to follow suit.
like
such an anomaly
now common
is
almost
felt
"Tom
welcomed indepen-
He
brought us
handheld
in because the gritty,

style of his
The
shows lent
itself to
using edgier filmmakers."
The
Geeks,
television
first
of passage.
rite
[Fontana]
shows. Series as
Freaks and
Sopranos,
dent filmmakers.
practice
diverse as Sex and the City,
Homicide.) says
Homicide,
episode,
bordered on being a publici-
ty stunt
Life,
that directing his
But there are
peculiarities too,
Invisible
Man, and Popular
on
and indie directors have found
the
Directors such as Allison
some of them jarring. When

Savoca was on her first episodic
list.
are
Anders, Jamie Babbitt, and Nancy
Savoca are taking
And when
part.
directing
she was
assignment,
producer John Wells started an
shocked when the show asked
"internship" program for his shows
her to come to a "tone meeting."
The West Wing, Third Watch, and
The
ER
to increase the ranks of
and minority directors

first
in
women
TV, the
her,
Jessica Yu.
work,
And
directors
"My jaw dropped
documentarian
with
are
all
Directing 101, and
of this
starting
which
pinpointing
lines
were jokes, heavy moments,
participant in the program was
Oscar-winning
and pro-
creators, writers
ducers went over the script with
ed
to
my own
it
had
etc.
was
like
direct-
movies before. But
was simply
develop a rubric for getting the
then
most out of the experience.
the storytellers protecting the
On
realized that
it
PHOTO: BARRY WETCHER
the top of the
list
show," she says.
of goodies
ent, the opportunity to play
with
familiarity with larger budgets,

for those
DGA
and
"On
a film,
see
things through from beginning
are exposure to A-list writing tal-
new equipment and
genres,
the ability to finally qualify
health insurance benefits. In return, the
TV
to
end and protect the
and out and
it's
piece. In
the writers
remember that these people
TV, though, directors come in
who
didn't
are the constant.
know who
was.
needed to
It
bruises the
CONTINUES ON PAGE 30
28
THE INDEPENDENT
DOCU-DRAMA QUEEN
Mob
and
from
the Streets.
California filmmaker
Life,
Jenny Jones thinks indie filmmakers are cool

enough... for syndication.
David
interest in
he worried that the invitation to the January show was
some kind of setup
"They could have
about your
to talk
creditors that
INDE-
but
film,
ence of intellectuals and

film geeks.
They
actually
Or
stream America and
they could bring out
your film."
for
had
And
the elderly surfers, even
will
if
Damm
obscure film festivals and
regalia and plenty of heavy metal attitude.
who
and
arty
That's right,
Roy
and Erin Beck, makers of the documentary Heavy Metal
who took the
Jay Capone, an ex-gang

Talk
chan-
cable
and The Jenny
interesting.
stage sporting leather-and-chains
Brown
notes,
"I
think
of cult?'"
watch public television

nels
and
the key question they were asked was Are you part of some kind
houses and only be of

those
your
all
daytime-TV
they were more interested in
Parking Lot 2000,
to
his
in Surfing for Life."
well-trodden circuit of
art
the audience was positive too, hooting and cheering for
forever be relegated to a
interest
like
chance to chat with her in the green room and she
was very nice and very interested
are box-
poison to main-
office
owe
still
Jones, he says, "turned out to be quite nice
have a tiny audi-
films
you
'We know you'd
said
here's your high school girl-
first,
experience was generally positive.
documentary
pendent
surfers, says that Jones'
documentary seems genuine. Although he jokingly
friend that you got pregnant!'
AS WE ALL KNOW,
Brown, director of Surfing for
L.
an award-winning portrait of senior
says that
Martha Keavney
by
Movies and Keith O'Derek's hip-hop doc Straight
the
show host Jenny Jones.
member and filmmaker who also

his Come Kick it
appeared on the January show to talk about
Jones Show.
the
Filmmakers say: 'Jenny,

Made a Movie
Here's the Deal,
and Everything in it's Real!'
syndicated
daytime talk show that brought
you
"Moms and Teen Daughters
who
Party Together" and "Boot
Camp My Out-of-Control Teen!"

has started spotlighting indepen-
dent documentary film- and videomakers.

January,
The
and then there were more episodes
Has the country run out
first
show aired in
and June.
in April
sexy- dressing teens busting at the
With Us (recently retitled Gangstars) got on the show by answering an ad
on on
Show
a previous Jenny Jones
dent documentary entries.
He
says
did her
seams?
Filmmaker David
Jenny Jones explains her interest in a cultural manifesto (read:

press statement received
my
ity
from her
independent film
first
festival
publicist): "Last year
and was surprised
went
ed that
Surfing for
impressed
me
with most of the films
is
The catch
is
that the subject matter doesn't stray too far afield
TV
the snappy tagline "Jenny,
Everything in
it's
The January 24th show boasts

Here's the Deal, I Made a Movie and
aesthetic.
Real!" and a majority of the eight featured doc-
umentaries deal with gang members, exotic dancers, and drugaddicted prostitutes. Also, several crowd-pleasing guests were
brought out along with the filmmakers, such
as exotic
dancer
Porscha Lee, from Paul Borghese's award-winning film The
Canadian
Ballet,
who,
if
she'd wanted
ed on "You Say That Body
Part's
to,
could also have guest-
Home Grown,
But
Know
It's
All Silicone!"
work,
more of the same kind of

Joseph and Sandra Consentino's Family Values: The
April and June shows feature

like
all
knew
Life, with
tails,
the taping of Jones'

first
homework
the films and

all
the
de-
and he was
especially
grateful
show on docu-
because he got a
mentaries.
that they were produced
on very low budgets by people totally committed to tell their stories. They somehow found a way to beg, borrow or finance by
credit cards, a means to create their films. Many of these films
rival some of the big studio productions."
from the daytime
on
Jenny Jones following
at the qual-
As soon as I got back to work I suggestwould make a great topic for our show. What
this
L.
Brown, director of
to
of some of the films.
The
calling for indepen-
he was impressed that Jones
distribution deal for

his film
from Black News Entertainment and Films thanks to
his
appearance.
"The funniest thing was, because

makers
in there,
were videotaping backstage," he
mad
was
it
all
independent
film-
everybody brought their video cameras and
"The
says.
security kept getting
because we weren't supposed to be videotaping, but every-
body was
still
in their bags
trying to sneak in videotape, hiding their
and
still
recording and
cameras
stuff."
Capone, however, was not part of that crowd. "My camera

broke on the
The Jenny
trip there,"
he
says.
Jones producers were so pleased with these shows
do more episodes focused on documentary

show resumes production in the tall. So it you want to
that they decided to
when
the
be on The Jenny Jones Show, wait

in at
tor the call tor entries
www.jennyjones.warnerbros.com
Or you
[check
could sleep with
your sister-in-law.
Martha Keavney
is
.1
freelance writei in
T H E
New
N D E P E N D E N
York.
29
DIRECTOR
ego at
TV,
CONTINUED FROM PAGE 28
but then you mature and
first,
learn to be a
team player
understand why
it
you grow
as
to
needs to be that way."
its own little culture,"

who won her Academy
"Every show has

explains
Award
Yu,
for the short Breathing Lessons
before joining Wells' program to
work on
The West Wing. "People have anxieties

about putting their creative stamp on an
episode, but they
need
remember
to
that
many
suggests both watching as
episodes as possible in order to
and tone of a series, as well as observing

other directors of the show on-set. He also suggests talking with
the editor, AD, and DP ahead of time to become aware of cast
and crew habits which may affect how quickly an episode can be
shot. Given TV's tight schedule, this can be difficult, as the crew
get a sense of the style
is
usually working
on the previous episode while
a director
is
prepping.
The need
creative
to rely so heavily
team teaches what
on an
already existing crew
and
perhaps the most valuable lesson
is
their job isn't to re-do the show, rather,

it's
to
add
Some
"Chokin and Tokin," a
to
it."
directors find the lack of input
into the decision-making process to be
Freaks and Geeks episode
extremely frustrating. These directors
directed by Miguel Arteta.
one hour out of
typically get
and they come
series,
been
likely
in with
a 2 2 -hour
prep time to a set that has
little
a cohesive unit for several years.
They
don't write
the script, choose the actors, or edit the final prod-
They
uct.
are sometimes the least of anyone's con-
Damast (Film: Pros and Cons. TV: Invisible

Man, Manhattan AZ, The Tick.) likens working with
cern. Boris
less collaborative
producers to being a visiting digni-
from a small foreign country: "The producers give
tary
the notes to the actors directly, ignore you, and then
shake your hand and say thank you
at the
end of the
Academy Award-winner
day."
participant
Matthew Harrison
TV: Sex
Thief.
(Film: Kicked in the Head,
the
in
Popular.)
City,
essence of directing television

a strong leader
On
hands.
ship,
when
everyone
a set,
whether
it's
is
many
so
still
to be
to be out of your
looks to the director for leader-
TV
The Sopranos, Oz, Homicide.) when

he crossed over into directing television. "I've been a fan of all
the shows I've directed. I always feel like, 'What can I tell these
On the first day of Homicide,
guys/'
to block the scene.
Don't they already
everyone was looking to
me
thought, 'They've done this 100 times.
know where
to go/'
But then
got over
my
make
for indie filmmakers, especially as they
"It's
in a very positive way.
good entertainer
not
It's
all
about you.
learning
to give yourself
In the process of doing so,
many
often requires.
When
Of
on the multiple
first
have come to value
some
bags.
ally
what determine
just
be. Generally, during the pilot or first year of a series, there
much more room for input because

acters of the series are
it's
the producers
Despite
its
who
still
the attitudes,
and char-
being developed. Ultimately, though,
set the tone.
hit status, or
perhaps because of
of openness during her directing experience
"They
style,
is
try to give their directors creative
parameters of the show. [Producer]
it,
Yu found a
lot
on The West Wing.
freedom within the
Tommy Schlamme
told
me
if
had an idea, they would help me support it. These guys are
under enough pressure already to do the right thing. They realI
ized that having a director

asset.
was very
Preparation
30
is
who can
help
them do
that
is
a big
THE INDEPENDENT
had
to be told that! didn't
film sets,
still
have to do
he
says,
would
that.
lift
When
"The
sand-
I'm
on
do everything."
Harrison discovered that by learning to put his trust in the
team around him, he was able
to focus
on
his actors
and become
much more tuned in to their emotional experiences while shooting. He was then able to apply this increased awareness of what
was happening in the moment to his next film, thus allowing for
more creative possibilities onscreen.
Savoca says she particularly enjoys the opportunity for experimentation with different genres. "The challenge is figuring out
how to work within each genre and how to be creative within a
formula that was determined before I came on board. I love
being able to do a cop show, then a comedy, then a mystery," she
says.
"The idea that
TV
directing
is
creatively stifling
is
all
in
your head."
lucky," she says.
key in attempting to be such an
my
filmmaking
getting used to.
television episode,
work."
and the age of a show are usuhow welcome a director's opinion will
craft of directing,
roles that indie
Homicide crew was endeared by the fact that
attitude of the producers
a really
to the job."
on the
course, this can take
Arteta directed his
becoming
up
directors
the opportunity provided to focus solely

rather than taking
TV teaches you that
part of the road to
shyness in talking to the crew and the actors and went to
The
the transition to
studio films. "Get over your big self and leave your ego at the
door," says Harrison.
television or film."
This was the biggest surprise for Steve Buscemi (Film: Trees
Lounge, Animal Factory.
first
JESSICA YU
PHOTO COURTESY
"The
how
seem
was the
Jessica Yu
The West Wing's internship program.
Rhythm
explains,
figuring out
decisions
in
asset.
Nygard
Tamara Krinsky
is
a freelance writer based
in
Los Angeles.
"We
anyway
are not limiting projects in
format.
The
science fiction genre
is
in terms of subject or
We
extraordinarily flexible.
are looking for thrillers, fantasy, horror, straight science fiction,

as well as offbeat cerebral stories
If
you can do a
35mm
25,000 and deliver
hand
the other
that's
okay
if
it
and ruminations on the
bizarre.
narrative film from start to finish for $20to us ready to
On
that's fine with us.
air,
you are interested in working
in
mini-DV,
as well."
While the program welcomes submissions from filmmakers of

any level of experience, Piatt says "We have to have confidence
in the capability of
not
level of expertise
New
S c
Funding for Indies

By Ed Eberle
F
our filmmakers to complete the project.
an easy task
at all
we
The
With
first
No
produce
is
all
by
Tim Cox from
the fancy offers flying around Park City this year at
as the
new production
entity
and
in
From Tim Burton's Vincent, one
the line-up of Exposure, Sci-Fi's 2-year-old shorts series.
PHOTO COURTESY USA NETWORKS
purveyor of fine
art
Bravo,
like
the
Independent Film Channel, or the Sundance Channel, Sci-Fi
is
nonetheless becoming a player on the shorts distribution front
through both the cable network and
The
upside for filmmakers
out of
is
its
Web
obvious. But
site
[www.scifi.com]
what does
Sci-Fi get
member
of the advisory board of Exposure Studios says,

to help deserving
filmmaking
develop business relationships with directors

ability to
make
films with the
talent,
"We
but also to
who demonstrate
same unique worldviews that
have helped make the Sci-Fi Channel such a success."

Werner,
who came
to Sci-Fi
making money on
for filmmakers to
ativity to get films
we
Men
Dead,
He
shot
Velzuat,
in
films
it
Black and
of Kuro-
in early
California
June
Vel-
Cox,
who
is
western
of
set
not
far
from Los
on the old Gene

Autrey Movie Ranch.
Angeles
currently employed as a storyboard artist and
is
graduate of Florida State University's film program, reports that
he and
Goodman
actually submitted three scripts for considera-
he says, "We were notified that our script

had been selected and we immediately went into discussions
tion.
Soon
thereafter,
from the Sundance Channel,
No
and so there is a tendency

take chances and draw on a deep vein of credone.
regularly broadcast
a short film
The
originality that
on Exposure, and now
we
see in the films
in the scripts
we
are
seeing submitted for consideration to the Exposure Studios pro-
gram, have been extraordinary."
"We're looking to the independent community and to student

filmmakers to create science fiction-themed shorts in
film, video,
or in animation," says Bill Piatt, executive producer of the
program. "The key to being accepted for funding
is
good
new
story
and, of course, a creative approach to production that makes the
most of every budgeted
In addition to funding the individual projects, Sci-Fi ensures
that selected filmmakers are guided and advised throughout the
production process by industry professionals
way we learned a bit more. Not only from the people

and the Sci-Fi Channel, but from the industry mentors who were very generous in sharing their knowledge of production and postproduction techniques," Cox says.
The filmmaker also got to play with some very cool tools. Los
Angeles-based director of photography Patricia Van Over shot
the film in HD using the newly developed 24p HD camera
the
same one recently used by George Lucas on location in Australia
to shoot live action and background plates for the latest chapter
at Exposure
of his Star Wars saga.
While Cox
is
reluctant to be specific, he says that the four-day
shoot and post process would be completed on "a shoestring
what funds
each 3- to 12-minute short will get, with amounts going up to
$25,000. "Each film necessarily comes with a unique set of production parameters and each film project would he budgeted
accordingly on a project-by-project basis," Piatt says. He adds,
new to me
The tact that the film is getting made at
The Exposure Studios funding, advice, and
budget," but quickly adds "small budgets are nothing

or other independents.
dollar."
that selects the winning scripts decides
their
"Preproduction was a continuing learning experience. Every
all is
The panel
who donate
time and energy to help get the films off the ground.
step of the
believes that "Short films by definition are personal projects.

is
Man
Cox and
with the team from Exposure and started preproduction."
hope not only
one
The
it.
John Werner, Supervising Producer/Director of Exposure and
an
set
zuat being part of a standing
the famous shorts on Exposure.
is
a script by
Samurai
sawa."
fund eight new shorts a season and feed the finished films into
Although not
the
the
called, will
is
is
writing partner David Goodman. Cox describes the film as

a "cross between The Quick
Sundance and Slamdance, the Sci-Fi Channel's pledge not only

to buy short films from unknown filmmakers but also to finance
some of these films upfront and provide production resources
turned out to be one of the real ones.
Exposure Studio,
So although the bar
funded under the new auspices
film to be
Eyes, directed
It's
with the
completely open."
Filmmakers hear a lot of promises at film festivals, and the

ones that concern money usually turn out to be the empty talk.
But of
a high quality film
are expecting.
rather high, the process
to
really satisfying.
the opportunity for screening on the Sci-Fi Channel show has
provided
me
with a great opportunity."
Ed
Eberle
is
an L.A.-based freelance journalist
specializing in film, television,
and media
arts.
THE INDEPENDENT
31
graduating from a monthly show with no designated time slot to
The Sopranos. According
a weekly series that follows
chances are good that the cable network

ly
schedule next year.
One May
afternoon, as American Undercover was in mid- sea-
The Independent
son,
documentary
ers,
series,
down
sat
to this corner office.
pre-HBO background...
with your
remember
can't
HBO's
with Nevins to discuss
her relationship with independent filmmak-
and how she worked her way up
I'd like to start

I
to Nevins,
continue the week-
will
that far back.
and theater
After you studied English
Barnard and
at
Yale,
your
first
break was doing films for the United States Information Agency. Were you
interested
No,
in
acting?
was interested in money, in making a
But you were

Yes,
and
was
in
front of the camera.
was teaching English.

played Jean, and this
there would be three
and
more words.
in English,
Professor Richards.
There
was travelling
did that for almost two
hundreds of shows. This went
when
all
in the Yucatan.
over the world.
There was
saw
USIA
Do
you want
was,
cow?
to milk the
it
truck,
peeked in to see what they were watching, and there
saying, 'Let us milk the cow.
was called Adventures
It
man played
1,200-word vocabulary for overseas learning. Each day
years
living.
I'll
That word would be on the

30 times in the most ridiculous sen-
see you after you milk the cow."

screen,
and you would say
tences.
It
was
it
great acting.
So that was the beginning and end
(laughs)
That was
Did you get involved

I
wanted
to,
but
in
taste for both the serious
and
the
HBO
Nevins has turned

documentaries into a primetime bonanza.
salacious, Sheila
Patricia Thomson
office at
HBO,
is
rummaging around
in
the corner of her
weren't allowed.
That proved
friends
domain that offers an impressive view

midtown Manhattan. Clank. She knocks over
award on a side table. "Oops! I'll just have to get
a tall glass
another one!" she
That shouldn't he
so hard. In any case, the executive vice
president of original programming probably has a few spares lying
around. Over the past 20 or so years,
won
31
Emmys, nine Oscars, and
HBO
documentaries have
hadn't grown up with television.
who
didn't
thought television was something bad
girls
my
girl-
to be true (laughs).
But
did think
do well in school had television
So then when
But
television.
would be involved in
sets,
and they
never thought ever that
real people
I
got out of Yale and did this
interviews,
learned.
news
it
USIA
thing,
got
was the USIA, they were
reports, things like that, so that's
started doing research for roll-ins for interview
shows. There was a whole series on war, so

in the archives
television.
very interested in television. Because
what
says.
know much about television, because I

Not that it was new, but it
were watching the Milton Berle Show and Show of Shows. I

remember I used to go across the street to my friend Elaine's
a spacious
of Bryant Park and
filmmaking.
No TV?
We
house and watch

Sheila Nevins
in fiction
in the theater.
was new to me, because
did.
by
your career
production?
didn't
had been interested
With a
of
it.
on
war.
And
did a lot of research
did
got an interview with
Al
got really interested in
reality.
that for about five years.
Then
13 Peabodys. What's more,
came
to
New
York.
with approximately $20 million in production funds, Nevins has
Permutter and ended up working on The Great American Dream
become
documentary community, par-
Machine.
Undercover and Cinemax's Reel
an
ticularly
a key enabler within the
through
HBOs America
Life series.
This spring, America Undercover took a giant step forward,
AP
started in research, then
bandied around the networks
THE INDEPENDENT
was a
floor manager, a
for
two
years.
ABC and CBS then
Children's Television Network.
worked, networked, networked.
32
an AD. That was on public television
met
lots
PA,
Then
went
to
of people and net-
was at CBS working on a show called Who's Who, then the

show was cancelled and I was supposed to work on 60 Minutes. I
really didn't want to run around the country and do magazine
pieces. I wanted to do long-form documentary. At the very same
time, I heard about this documentary job at a place called Home
Box Office. At first, I thought it was theater and wondered,
I
'Why do
this new
out
and the other

This
slot
it
was
It
thing called cable. This was 1977-78.
It
was an
eight-
hour service then, and they'd only done one documentary. The
rest
one month and, keep your
was movies. So
signed a 13-week contract.
is
How
it's
bought very comfortable shoes,
these ugly, old-lady shoes, and
came
work the
to
manage
my
idea.
sion just the last
Why now?
HBO in
both on
will
win an award
was
1 1
and
quite a
is
it?
just saying to
been making documentaries
interviews,
Director of Documentaries.
one
America Undercover has had a regular weekly
weeks.
something out and get
What was the job?
offer
a great slot, directly after The Sopranos. This
did you
was not
you can
fingers crossed,
will get a rating.
the first time
and
coup.
Then found
they want to do documentary?'
poverty in the Mississippi Delta
it
for
I
30
someone
never knew what
week:
last
been
years, but I've

it
I've
in televi-
was to crank
ready in time, have promos, press, and
parties for the producers.
programming on the
Did this have to do with the rise of reality
day think-
first
free channels?
ing
was going
to
body came into the
and
if
said,
direct
Then some-
documentaries.
office
would be great
'It
HBO
Chris Albrecht [president,
me, you
And
really
said, 'Sure!' just like
when
thing very quickly here.
When
mentaries by the end of the
job,
realized
and
it
wear pretty shoes. So

From Bellevue: Inside
Out, which offers an
done work
unprecedented
producer.
psychiatric hospital.
It
could be about
never occurred to
had
about
that.
if
wanted
me
The
Undercover specials
it
No, because The Sopranos

have ended. They'll
will
fight for recognition in a
it
13
to sign for 26
crowded schedule.
But
these
not
ry,
make documentaries about
started to
high-audience-appeal
documentaries.
They're
my
prestige docs,
my
ics'
docs
had a racy rep-
because
that's
what
And
did too.
The
histo-
thought documentary was. But then
saw that viewers loved those sexy shows and

ple.
and
focus groups thought
thought,
'Why
follow the
that
long had you been there at that point?
I
remember
war shows, and bombs, and
millions of
should have been, because
was putting on
something R-rated.
rated things.
The
do
I'd
first
Hitler,
and
and they'd be doing Rshow called Coupling. It was
real people
thing was a
menage
different kinds of coupling:

It
was very shocking
Everyone said
was
an enormous
So
thought, well, Winston
Churchill in a hot tub.
Somewhere
we
show with Ms. magazine.

maybe I can do a balancing
act between high-brow and low-brow. And that's what I've continued to do. G-String Divas and Lake's Kin, which is about
I
in there
can't just
do hot
did a
all
by themthat
and
lead-in
the
build.
find
tainly borrow.
thought,
these
a trois, adultery, swingers in
at the time. It got
a genius.
Everybody knew they

some slightly eccentric reality on HBO after The
Sopranos. You can't compete with The Sopranos, but you can cer-
would
ly
rating.
it.
without
without
If
a hot tub.
well
Sopranos
vaguely
who had no interest in during

HBO. Gradually I decided to try to do
Mussolini. All these people

school,
learning
know whether
selves
Probably longer than
this
shows would have done
people on the movie side?'
How
I'm
sion;
don't
I
ratings
know
business of weekly televi-
documentaries
don't
don't
about peo-
stories
were interesting and gave them a sort of social approval, but they
weren't really watching. So
crit-
Living
a critics'
show and a high

show.
my
although
was both
Dolls
issues
are
specials
utation for showing R-rated movies.

Initially
the
in
retain this time slot?
fall
started to copy the movies.
remember when HBO was young,
monthly America
the
had
because nothing had even gotten started. So
to,
learned on the job. Eventually
Let's talk
people.
real, living
weeks came to an end, and they asked

more, and
for 13
for as a researcher or associate
of America.
you
They
'why?'
could
I
did documentaries about
Winston Churchill, Hiker, war, the history
view into the famed
ask
don't
might reconsider.
I
assigned shows to people that
says
good,
was a desk
shoes for nothing.
weeks
someone
something
bought those
I'd
series.
took the job. You learn some-
we could have 40 docu-
year.'
programming] said to
original
ought to do America Undercover as a weekly
you could, would you want to continue America Undercover on a weekbasis?
would
become
say, 'Yes, yes!'
Why?
visible in the
gym
in
Because documentary on
my
building.
And
1BO
has
that's a big sign.
Before the weekly
tubs, so
Undercover.
We
series,
there was never a buzz about America
would savor our reviews
but there was no buzz.
Now
there
August/Septembei
.u\A pass
them around,
is.
2001
THE INDEPENDENT
33
HBO
For the most part,
seem
doesn't
interested in personal documentary.
showed James Whitney's Just, Melvin: Just Evil, which
This season you
is
How many development
deals?
Since we've been weekly, 25-30. Before that, 10-15.
not an essay film, but rather the filmmaker acting as a journalist and
now
Are you
own family
investigating his
No, we're
think personal documentaries are often stupid, because some-
own
body's working out their
narcissistic relationship to their
themselves and environment, and I'm not really interested.
If in
personal narrative you're exploring a social issue of some kind,

like
Judith Helfand's Blue Vinyl, then
mommy had
personal story. 'My

it,
and then
in
it.'
er's
went
to the lab
had blue vinyl on

found out what blue vinyl had
house and
and
or your grandmother's Alzheimers
my
experience,
tend to be distant
when someone comes
sonal documentary, sometimes

I
get squirmy.
And
in with a per-
second of
all,
one
is
HBO
hallmarks of an
of the
This year around $18 million. That covers American Undercover
on
monthly
no
providers
team
doc. This season a

activists
Soldiers in the
in
and
also
Cinemax
Reel Life.
in
projects.
We've had $2,500 development deals and $40,000 development deals. We've had $50,000
television shows and $2 million television shows.
Not
is
many $2
boiler plate contract.
million shows,
Not many on
And
ent.
imagine.
end of the spectrum. They're all very differthey can change as we go. Blue Vinyl can start as a film
very
either
little
is
money
in
on Cinemax.
damn good
film;
it
We
look at the rough-
needs to be on
HBO' Not
of film-
who advocate
that good films aren't

the
art-house.
of abortion
basis,
Describe the sliding scale of HBO's involvement
There
cut, say 'This
makers followed around three anti-abortion
murder
HBO special documentaries, which come after that
Sundays, the
we put
don't see a future.
Access
You have a production budget of about $20 million, correct?
it
from. Those directors really tend to be one-time filmmakers, in

the main. In
just starting faster.
can go along with your
Usually explorations of your father's suicide or your broth-
AIDS,
timeframe within which filmmakers work?
restricting the
feel-
documentary as a genre?
ings about personal

I
What are your
history of sexual abuse.
Army of God.
In
Then
on Cinemax, but Cinemax
is
more of an
the deal changes, and the rights change.
We
have become masters of inconsistency.
Question of Miracles, you had unlimited access to two evangelical healers.
Bellevue was the
first
time documen-
tarians had been permitted inside the psychiatric units at Bellevue Hospital. In
HBO
cases,
got the access and
So
that case,
in
what was the financial leap?
It
was a couple hundred thousand
Is
it
some
say the
fair to
HBO
dollars. It
projects are often
in
was a great
leap.
the $500,000 to $750,000
subserange?
quently found a filmmaker to carry out the

project.
came
to
you with contacts. Most often, how
does that work?
We
might
Ramsey
do a film
thing, let's try to
tle girl. Let's
we
Mama
received an
Academy Award
for
Documentary Short Subject
some
because
what we can
us stay there?'
let
Can
do.
Or
lit-
'Will
We
had
say
not determined beforehand to
for a year-and-a-half in the Mississippi Delta
with the Maysles.

Delta?
Or was
it
that
the resources to see

us
what you
find,
That's sort of
a great luxury. Is
It's
how
we
if
it
spot
and
it.
say,
there's a story there.
try
very hard to keep
this
kind of
them working
for us
Sometime they spot it, sometimes

And sometimes neither of us does and we sit in a room
'What are we going to do next?' But there are certain
Mark, Jon Alpert, Maryann, Joe Berlinger, Rob Epstein
Jeffrey
their next idea.
Friedman, hopefully Kate Davis, hopefully Edet
Belzberg.
What percent are new
to
you
in
a given season?
This year, with American "Undercover Specials, three out of seven.
On
the weekly series, there were three out of 11. Because of
'We can give you
When you
then you can stay there
become
access to the Mississippi
said to the filmmakers,
these
and drum up
and
other people would
mentary.
can squat
umentary and they're so good, they become part of

repertory company.
regulars:
they're
Mark Levin and Maryann deLeo.
A lot of them are recidivists. If someone works so hard on a doc-
with Bellevue. Because the films are
prove a particular point, we can make a unique kind of docu-
We
There are a number of filmmakers you've worked with over a period of
meetings and meetings and meetings
explorative
voyeuristic
see
travel with this group?'
Bellevue
Absolutely.
time. In this season, there's
Jon-Benet
'This
say,
really looking into the life of
Big
Not Cinemax, but HBO.
other cases, the filmmakers
In
find
it,
tell
for a year or more.'
stories of access.
How
do you
get into that family in that trailer park in the Mississippi Delta?
How
do you get into that school? You go down often. There's
nothing but the determination to

place,
tell
a story about a particular
then you develop that with what has been our patience,
which has been
built
on
one-a-month schedule.
they're going to be weekly, we're going to
things
and get
a lot of people out there faster.
34
same
in
have a
many
story.
THE INDEPENDENT
Mambazo
Tiptoe: Gentle Steps to
in
On
In
Vietnam with
My Khmer Heart
Freedom.
that
have to generate more
development deals going on. More people,

ing for the
Now
Ladysmith Black
Cinemax
lot of
ation.
cases, look-
Reel Life, there are a lot of first-timers.
You come
to the door,
But there's
you have something
vari-
to offer us,
either finished, or almost finished, half-finished, we'll probably
join with you,
if it's
good
we think we can
idea and
get mileage out of
the
in
Hoop Dreams once every 10
wish the allure of being on
field is that
the Cinemax films

try.
are straight acquisitions, and

you're hands
off
on those.
We're not hands -off on
We made
anything.
Big
Mama
from scratch. Blue
Vinyl
we
when
it
Bronze
involved
got
was 20
Screen
was
an
of India
was a co-produc-
Channel
with
tion
with Kirby Dick.
bought
an acquisition,
as
that was Edet's. How's Your
News was an
which we provided completion funding. Fashion

it and we remade it. Mira Nair's Laughing Club
of India was an acquisition, but it was 50 minutes long and we
made it short. Legacy we revamped and re-narrated. Hank
Greenberg was acquisition. On Tiptoe we made, basically. The
acquisition, for
Victim
BBC did
we bought.
Target Shoots First
The
maybe then
like a theatrical
scenario
for a year or two,
window. Could you explain that policy and
months,
it
my
not
its
it
of interest for
HBO, and
is
to
do
the next day
it
was
foolish.
Tammy
films, release
because
this
is
in
them
HBO. We
for
insecure as
So
six
put
it
it.
But
wasn't; the
it
if
their
drumming
HBO,
got to
television,
theatrically,
it
this
isn't
differently.
TV
the
newspaper had
they weren't going to review
pay
its
if
see something like
get a year?
an
assistant
want
on
Tibet.'
do
to
a film
How much do you scout
We
may
call
back and
But we're happy
say,
to hear
festivals
'No,
it
as a
basic.
them
in
theaters for a
TV
The
They can make
then put them on IFC. That's not
out for a week.

it
It
week
We
the product.
all
Docs, Marseilles,
IFF;
came
theatrical premiere [for
See, this
is
on television until six months

Oscar qualification].
the whole issue: Documentaries are
made
don't
it.
is
because
that,
what's at Sundance,
surprises
[in
for tele-
we
Hot
but in other cases, we've already seen the
the seller
If
to us. IFP
don't
know
looking for a buyer, chances are they
is
probably our most important market. There

works-in-progress screenings]
the
because
Somebody wouldn't have had the

chutzpah to pitch us with just five minutes. But we have the
interest to see it. And we have a breakfast where we go around
they're five minutes long.
from table to table and
We
listen to ideas.
take that very, very
seriously.
Can you imagine
No.
life
hate to say
after
HBO?
so corny, but
this, it's
interested in everything
taxi.
But
Where would
if
you
tell
my
life
is
HBO.
bonus.
But no,
like
I
them
naked women, people
ever experience
HBO
all
in (he
those things?
that, they might not give
to think I'm malcontent
actually enjoy
Patricw
Thomsons
I'm so
do. I'm not ever bored. Every idea
to qualify.
premieres theatrically, then we wait
can't be
we
about
and markets?
go everywhere, though we're curtailing
know
of a
months, because
after
why sometimes
ple's satisfaction;
your films have gotten Academy Awards, so you have to at
of
as
call
I'll
different: blue vinyl, poverty,
it
no such thing
as buyers, we're probably as
gift.
least put
Fundamentally
That's
sellers.
Southern Comfort,
are
let
our job.
many
so
that?
it
comes
not even the one day on
Faye, by the time
as a theatrical,
it
And
first
But in a way
Independent Film Channel can do
But
somewhere
meaning of
Call us anytime. There's
else.
pitches.
goes into
try that again,
programming
original
were kind of interested
show.
it
on HBO, we have it for nine

comes back to HBO in two years.
Faye go into theatrical
reviewed
the
business.
HBO and
critics
HBO, we have
goes
more; we're not going to
business
Tammy
goes on
It
someone
to
many
product.
No
theatrical.
My
It
goes into theatrical,
Scenario three:
it's
Your film goes on
two:
city
is
as a
Thousands. But they're handled. They may not be handled to peo-
goes into theatrical release, then
HBO. Number
back to
what
work of art
empty theater
that it can have a
it
idea of sitting in an
prefer to hear from filmmakers? At rough cut? Before?
How many do you
is this:
it
prefer to hear from filmmakers before they give something
good
too
because
a sore point for filmmakers
is
exceptions?
The dream
some
that smells of pee in
is
All were first-time relationships,
generally requires a premiere, which
who would
The
and as a piece of film.
When do you
has a hit
convince more filmmakers to want their
will
it
HBO
HBO Because we do respect
docs to debut on
We
when
reason I'm so excited
somebody in the middle of the night to

get it. Because I just don't want anyone else to get it. I'm too
competitive
too competitive not to let the phone ring all the
time and not to have to create a structure here by which we can
review any pitch that comes in.
except the co-production.
HBO
We
Sundance
the poster.
involved from the begin-
Children Underground was
but really worked on
to
They could have come to HBO, then gone to theatrical release.

It would have gotten more reviews, and we would have paid for
theatrical release
ning,
glamorous.
as
We go
(laughs)
with you. But this idea of theatrical release is a carry-over. Yet

young filmmakers have it, too. Grow up! Don't kick yourself in
the teeth. Pie in the Sky: The Bridgit Berlin Story had to have this
big theatrical release. What'd they make? Eight hundred dollars?
4-
Chain Camera we were

The Young & the Dead goes inside Hollywood
cemetary that was made hip by a new owner.
dis-
money.
their
years.
HBO could be
We give you a poster and a party,
think
The Stolen Children
Slaves:
what the
done.
The Carpet
acquisition.
make
to
The Buena
like
don't understand
where they're going
doing,
is
There's a
The general impression
But otherwise,
Vista Club, great.
tributor
it.
you can squeeze through one or two
vision. If
my
last act
interview Sheila Nevins. She
and
in greal
me
is
back
It's
a big
demand.
work.
as editor in chief oj
is
now
The Independent was
to
a contributing ednor oj the magazine.
Augusc/September 2001
THE INDEPENDENT
35
Why
is
The
Believer a more
"difficult"
movie than
\? many
Beth Pinsker
by
When
Henry Bean, a screenwriter with credits

and Deep Cover,
Internal Affairs
feature,
first
was about hate.
it
he wanted
He wanted
it
to be about love as
show
much
is
what
tears us
as
more
one's parents or country or religion
the
we love something
more it's possible to
like
out to direct his
set
that sometimes the
to
also hate or feel stifled by that thing,
up inside about
all
others?
and
this
the important elements in our
lives.
What he came up
with
about a yeshiva student
is
who
The
Believer, a daring
debut film
turns into a neo-Nazi.
The young
man, Danny Balint (played by newcomer Ryan Gosling), loves

Jews so
much
that he doesn't understand
why
they don't assert
he
fear
ignites
He
York.
on the
Germany, rounding up Jews.

(above)
Newcomer
becomes
He
advo-
cates in grand, articulate speeches that
Ryan Gosling plays

Danny Balint, a yeshiva student
New
streets of
imagines himself a Nazi in
the Jews should be destroyed and sets out

to
kill
who
a neo-Nazi.
Writer/director Henry
Bean directs Gosling

and Theresa Russell.
prominent Jewish businessman.
Bean welcomes controversy, but the

way his film has been received is something different. The Believer won the
grand jury prize at Sundance and then
catapulted the director into a Holly-
wood maelstrom
that
has
Bean
left
without a major theatrical distributor.
The
process started normally enough.
After Sundance,
themselves as a people and fight back against
harm them. He thinks that God is also

meek by holding them under the thumb
of those
all
who
Angeles to
sell
the film and he showed
it
Bean went
to staff at the
seek to
conspiring to keep
Wiesenthal Center, curators of Los Angeles'
Jews
of the Torah, with
Tolerance. This kind of screening has
all its
laws and daily requirements.
it all comes down to when God commanded

Abraham to slay his son Isaac. "It's about God's power. God says,
am? I can make you do anything I
you know how powerful I am.'
want even kill your own son, because I'm everything and
you're nothing," says the young Danny to his Talmud instructor
in a flashback. He gets kicked out of class when he continues, "I
For Danny,
Los
to
Simon
Museum
of
become more than a courtesy in the entertainment world. Filmmakers with work about
gays show it to GLAAD, those with work about blacks run it past
the NAACP, and those with work about Jews show it to the
Wiesenthal Center or the Anti-Defamation League.
There are no guarantees that the

though. Rabbi
Abraham
result will always
be positive,
Cooper, the assistant dean of the
Wiesenthal Center, didn't
like
The
Believer.
"This film did not
think the whole Jewish people were permanently scarred by what
work," he told the Los Angeles Times after the issue became
happened on Mount Moriah. And we still live in

God makes you afraid of everything. All the Jews
public. Potential distributors fled, for unstated reasons.
being afraid
And
are
Fear of
good
at
is
sacrificed."
The
adult
a skinhead, wears a swastika T-shirt,
and
revels in the
on the
THE INDEPENDENT
Bean was
went over there to show this film,
it for what it was. an obvious paean to
flabbergasted. "I blithely
thinking they would see
Danny
guise of hate.
so this love takes
becomes
36
being
terror.
Judaism." he says. But
because
its first
like a film that can't
weekend
is
slow,
Bean
ever get
says, "It
was too
its
legs
late. It
was
like
the
Bean did
first
weekend was bad
slightly better
the tone was muted. "While
still
ADL
able," the
an
says in
in the Jewish world."
with the Anti-Defamation League, but
many may
official
find
it
objection-
statement on the
filmmaker succeeds in his portrayal of
lifestyle
this disturbing subject
History X, in
Critics tried to plead the filmmaker's cause. In
Town and Country (which
didn't
lives in
in fact. He's a
New
York.
The Wiesenthal Center got behind American

which Edward Norton portrayed a charismatic neo-
Nazi, though
Entertainment
end up having
is,
in the filming).
of skinheads."
Weekly, Lisa Schwartzbaum took the space she would have used
to review
who now
he
It isn't
without legitimizing or glamorizing the hate-filled protagonist,

anti-Semitism, or the
And
even about the anti-Semitism that the main character

spouts, or his desecrating a Torah (no actual Torah was harmed
"the
film,
if a non-Jew made a film

Reform Jew from Philadelphia
whole different kind of controversy
like this.)
at
its
it
museum
It even showed the

young kids about hate.
depicted similar savagery.

to teach
film
a press
screening) to trumpet the film as "unique feature film aflame
with vivid depictions of the wages of brutish hate."
Why make such
"Far worse films have been backed.
about
a big deal
this?" she asks.
The
film won't exactly die
on the
festival circuit, like so
other films labeled "difficult" or "not commercial," but
go as
far as
film to
most celebrated Sundance
Showtime, where
it
will
"No
Limits "campaign.
the distribution
arm of the
the
as part of the
many
won't
sold his
around
pay cable
A couple of months later,
film's
stage a small theatrical release.
Bean
premiere in September
the time of the Jewish High Holidays
network's
films either.
it
IDFJ
production company, might
The
Believer will be eligible for
Emmys, but not the Oscars, Independent
Spirits, or
other
film awards.
"Even though the picture

as
an acquisition, a
lot of
is
one of the highest
people found
it
profile available
easier to say no," says
Bob Aaronson, IDP's vice president of acquisitions. "With the

USA's and Searchlight's of today, they don't have the appetite for
anything challenging. But they're
WHAT
all
challenging."
IS IT ABOUT THIS FILM THAT IT WAS TOO

company like Miramax, which released
Antonia Bird's Priest on Easter, or Sony Pictures
Classics, which released the similarly controversial In the
Company 0/ Men?
The issue is not about a Jew turning into a neo-Nazi, despite
EXACTLY
much
how
for a
controversial that simple description sounds. People
Like a film that can't get

is
Bean
slow,
says, "It
now
its
legs
was
too
weekend was bad
in
generally understand the psychological concept of identifying
with the aggressor.
And
Bean's premise
is
based on the true story
KKK grand dragon who committed suicide in

The New York Times reported that he was Jewish.
It's not about Bean himself. The first question people ask is if
he's Jewish
just to make sure. (For better or worse, it would be
because
late.
It
its first
was
weekend
the
like
the Jewish world."
What Rabbi Cooper and
others respond to
depending on their backgrounds. For some
1965
others are going to find
is
something
intangible in the film's tone, which people read differently
of Daniel Burros, a
after
first
selves
"all
got at
it
first
all
it
signals
is
thai
controversial, while they don't thorn-
were constant predictions
oi
contro-
versy to come, without encountering any of the controversy,"
August/Septembei
Z001
THE INDEPENDENT
37
Bean
For those others
says.
it
creates an immediate visceral
reaction that can often be negative.
the goals of Zionism, assimilation, ultra-Orthodoxy, Holocaust
and talking
obsession,
in synagogue.
think some viewers will be fearful that, in the wrong
"I
hands, The Believer might justify or provoke violence," says

Annette Insdorf, director of undergraduate studies at
Columbia University and author of Indelible Shadows: Film and
the Holocaust. Insdorf was impressed by the acting, and
HEN, TOO, THERE'S THE ENDING
always crucial in a film that
t:
is
TO DEAL WITH, WHICH
point. Jewish groups endorsed
al
IS
supposed to make a cultur-
American History X,
because by the conclusion of the film the neo-Nazi
essentially,
thought the film "compelling, thought-
provoking and tautly directed." She also
found the film disturbing in that there
much
so
in the intervening
is
Fie Tirsi
.-
"What happened
detail left out.
Jewish-
decade or so between
it
people ask
3-1
' ; j
ake sure,
the flashback in the classroom and his
avowed
desire to
kill
was he affected by
or
his
ail-too-
briefly
present-
ed father?
cause
than
his his (absent)
different story
"How
there
of The Believer
ic line
film
world, the situation
much
is
like
"We
what happened with
In the
Company
of
Men
at
years prior.
Danny go
get into cultural debates every year at Sundance," says
end, has a
about an exploration
Company of Men is
of the phenomenon
With The
about that
In the
Believer,
it's
a universal subject,
is
and of
today. Bean's film takes
crisis
of cultural identity, which
this very particular self-loathing of
to
it
an extreme, but
Danny
if
Balint
had
while expressing the same ambivalent emotions

God the filmmaker might have
enraged the same groups of people.

movie. At one point, he's arguing with an old classmate at syna-
him
doesn't
know Danny
really
is
a skinhead, calls
a Jewish Nazi because he thinks Jews are wimps.
Danny
fires
back that Zionists are Nazis.

"They're
territories,"
An
a
older
woman
snap and asks
they're
wimps
and act
like
storm troopers in the
says.
standing with them sizes up the situation in
Danny
"Do you hate them because

storm troopers? Or do you just
pointedly,
or because they're
hate them?"
In just one exchange,
Bean has
riled
up about seven
different
ongoing theological and moral debates within the Jewish com-
munity
38
as a
mar-
self-hatred, the treatment of the Palestinians in Israel,
THE INDEPENDENT
it
was
A sacrifice
is
the answer."
about self-hatred," Bean argues.
finally
I felt. He loves Judaism just as

And whether or not he is destroyed in the
his own destruction, returns to Judaism, or
hand
it."
in
"There
is
some people
this
is
up in the
will
dynamic,
will get
it
air.
Bean knows what he
thinks,
read the film as they want.

it's
there throughout the film and
in vast detail.
Some
will
have a feeling
All of
this,
however,
viewers. In fact,
may be
much
may be
too fine a Talmudic point for most
of the philosophical debate about the film
too detailed for those
who
aren't schooled in the
Kippur prayers or the commentaries on the binding of
Yom
Isaac.
ATTHEW DUDA, SHOWTIME'S EXECUTIVE
VICE PRESIDENT
of program acquisitions and planning,
is
. scholar.
sial films.
What he does know
is
not a Torah
dealing with controver-
His network's responsible for the gay series Queer as
Folk as well as the acquisition of Angelica Huston's Bastard
Out
which Ted Turner wouldn't let New Line release

because the child abuse it depicted was too graphic, and Adrian
Lyne's Lolita, which no American distributor would touch
of Carolina,
racist, militaristic,
Danny
think
he hates
as
'
character gets deep into this debate throughout the
who
it's
that they can't articulate," he says.
upbringing and
gogue. Avi,
seems that
but realizes that people
merely gone from being a yeshiva student to eating bacon
The
sanctified in spite of his
it
[of racism or sexism]
This self-hating or even just bare exploration of religion hap-
his
doesn't see a pedagog-
is
defies until the end,
pens to be one of the most touchy subjects in American Judaism
about
He
destroyed in the end, but
that they are literally
Jews that has been a tradition of Jewish art and literature."
cheeseburgers
leads.
"The character had ambivalence,
Death and Sex: The Annabel Chong Story. "What's different about
and
of Rabbi Cooper's chief criticisms

it
before being stopped?
much
Believer
One
about where
is
appears that the character
"I didn't
the festival's director, Geoff Gilmore, citing Errol Morris' Mr.
The
film like this.
tyr
at the end."
Sundance four
would be a whole
and not in retribution.

"The only way I can rationalize the story is to look closely at
the opening and the closing, which invoke Abraham's binding of
Isaac," says Insdorf. "The frame of Trie Believer is about God testing man, while Danny seems to be testing God: How far can
an un-
the
it
beliefs; he's
satisfying feeling
In
it
that eventually dispels the character's anti-Semitic rants.
Instead,
answers,
is
the director's
made a
a non-Jew
if
sees the error of his ways.
Be-
questions
it
if
mother
raises
it
more
Jews?" she asks.
is
because of the sexual content.
"Premium cable has become the place to handle difficult

Duda says. In fact, premium cable needs difficult
material in order to separate itself from the pack and get people
to pay a monthly fee for access. Duda needs not only to scoop
HBO on provocative material, but also network TV, basic cable,
and the weekend movies. What could be better for that than
material,"
premiering a film that nobody else
The way Duda
will
builds up a film like
touch?
The
Believer
is
through a
steady marketing campaign, with review tapes for influential
crit-
and on-air promotions and advisories. Duda makes use of the

channel's Web site [www.sho.com] to supply additional material
ics
He
and chat opportunities.
also has the option of putting togeth-
er a special discussion after the film, either for air or in private,
so that people can discuss the issues that the film raises. If
goes well, the film will score decent ratings on
on
live
its
all
opening night,
and on video, and help cement Showtime's
in replays
reputation for daring.
'"No Limits' doesn't mean there's not programming we wouldn't
put on the
ment
that's
Duda
air,"
"We want
says.
dramatic as well
as funny.
out there saying you shouldn't do
high quality entertain-
There's always somebody

of things. That's what our
lots
In the
we welcome it."
trying to get community support
free society gives us. Lively debate,
Duda
before a
also has the option of
show
airs
by scheduling special screenings for groups
the Wiesenthal Center
except, not
now
but
exactly new,
isn't
He
boycotting Basic Instinct in 1992, and says
many
it
found distribution
personal details about a director can
own
clouds your
"It
proud of one thing
in this film,
in there
and
Men, he
says that
it
has been growing
was a Morman, in the sense that
didn't sort
if
we threw
you." With In
out for
it
personal reaction to
that
it's
group had success
director of GLAAD, traces
back to when
controversial, but
his
entrenched and so public. Scott Seomin, entertainment media

it
Men was
thinks that too
be distracting.
has never before been so
it
of
like
in this particular case.
This process of drumming up support from an interested com-
munity
Company
through Sony Pictures Classics.
it.
I'm
If
a million things
Company
the
of
people were comforted knowing that LaBute
it made him seem wholesome,

would see the film through a different moral prism.
that's too easy. "The scary and exciting thing about that
that they
ever since.
Rabbi Cooper says he's been asked
for years for help
on
And
vari-
ous projects, but only as a way to try to avoid offensive images or

historical inaccuracies
and not
as
an
film
own
being able to read your
is
thing into
effort in censorship or polit-
he
it,"
For the same reasons, Bean as well as others
says.
Sundance's
like
Gilmore, worry about the effect community

groups will have on free speech
"Nobody has
to
come
Center's Rabbi Cooper,
to us to pass muster," says the Wiesenthal
"It's
usually minor input, like
films do
making sure the
who
of people
died
in
a concentration
camp
is
have to pass some
sort of political
no matter
true intent
correct,"
they scare
thinking that
distributors
correctness test
number
if
into
potential
is
the group's
if
just to inform. If the idea of
sending studio product past community

groups
wmmmm
at
Believer. Directors
ical correctness.
"Nobody has
ally
who
to
come
to us to pass muster,"
very minor input, like making sure the

died in a concentration
camp
is
he
says. "It's usu-
number of people
correct. In
24
years,
and
including The Believer, I've never picked up a phone to say to
somebody
make a film."
Showtime might have more luck using
go out there and explain his film. Bean can, in a
in the industry not to
In this case, however,
the director to
sense, sooth any nerves that might get jangled
market by market.
is what Neil LaBute did when some critics accused In the

Company of Men of misogyny and tagged the director with the
same motives as his characters. LaBute explained what he was
This
trying to
do
in the film
ration of evil
talking about the psychological explo-
and more and more
critics started to get
it
nice guy, and a
and
The little details about LaBute being

practicing Mormon, didn't hurt either.
like the film as a result.
Bean doesn't want
his
background and
confused with the meaning of the

either about his Jewish upbringing
gion. But, he says,
"Whatever
his
film. Yet
and
his
motives to get too
he doesn't stonewall
own
feelings
about
am, the film remains what
reli-
the indie film
still
boom
relatively new,
is
imagine their shock
having to send something
getting used to the attention
are suddenly
like
The
and freedom of
up against a new challenge of
conformity
"Characters that
come out
of
some of these
films give a sense
of something that's breaking molds and that deals with different
kinds of aspects of identity. People could look at this and
say,
'You can't portray this in this way,'" Gilmore says.
Bean thinks the more edgy independent films might be in

this new system ot checks.
danger of getting cut off under
Distributors, he says, "are scared of the prospect of negative publicity.
At one of the
places, a publicist said to me,
the hell out of this film.'
The
truth
is,
nothing compared to damage they might incur

Jewish groups decided to take
The
it
result of this pressure,
can market
'I
the studio decided
it's
organized
it
out."
Bean
says,
is
that,
"
he studio
movie business even on the art-house level is always being

pushed toward lowest common denominator. We get the blandest version of everything, and that becomes more and more our
culture.
it is."
Beth Pinsker
is
the editor in chiej oj
August/September 200]
The Independent
THE INDEPENDENT
39
manage
agers to better
STRUCTURE, STRUCTURE, STRUCTURE

StoryView
a new
offers
and crew,
allows writers to track any element in the
tool to screenwriters
script
Robert M. Goodman
by
actors
and track locations and props. StoryView
characters, locations, subplots
and see a visual representation of where

those elements occur. The program can
draw connecting
automatically or
lines,
manually, from the timeline

StoryView's outline view of a
window
to
the tracking window. Users can display or
scene from Pulp Fiction.
hide the tracks at

Below-. StoryView's timeline
The
view of a scene from Pulp
screen
is
will.
cluttered
open StoryView. There
Fiction.
when you
are
first
windows
for
the tracks, control of the tracks, and the
could help writers
that
structure
and enhance
the flow of their stories.
The
AflOft-T^
H*> Rasy
Screenwriters have
on the lowly
Urn
index card to struc-
Urn
relied
li
laomj.
-<
stories
their
ture
ML
E'-iin
"
;;:;,
CnoWf!
-
D.W.
since
Griffith's
Mfa ..J1-.
the
first
It's
a program that
makes you
anyone think of
----.
Why
think:
didn't
The
simply change the program's options.
program, however,
isn't difficult to
master.
Most of the keyboard commands

conventions or are
keystrokes
mnemonic
timeline
the
in
follow
single letter
The
view.
MC Batch CooWrb
'"'
UCVuV,p
timeline -based visual
is
Mi:-.--'r.
13
Windows
($199,
outliner.
only),
.
c
StoryView
result,
v2.0
timeline. Toolbars abound. There's no

way to edit the toolbars, but you can turn
them on and off. To reduce the clutter
mouse commands were
this before ?
StoryView marries the approach of
out.
also well
thought
However, in the outline view, which
*
i
day.
It's
easy
to
down an
pin
cheap and
idea for a scene
on the card and
bulletin board.
Then, take
repetitive ones, arrange
them
to
are the index cards of the
com-
puter age? Stand-alone outlining software
used to be popular, and was soon incorporated into
There
two presentation modes:
are
an
and
view
timeline
outline
word processing programs.
few programs remain, such as Writer's

Blocks (Ashley Software, $149,
Windows
which duplicates the experience of

using index cards. And most script formatting programs allow you to shuffle
view.
But
that
fact
doesn't always highlight the
this
screenwriting
is
structure.
Elements that novelists obsess over

character
and
importance in
setting
a script.
force in a script,
one minute
know that
moment an
what
ond
are
Time
is
of
lesser
the driving
where one page equals
of screen time. Professionals
"when"
the
the
exact
action or event occurs
counts. For some, structure

nature. Yet,
all
is
problems sabotage the best intentions of
difficult
The
than
it
point of using StoryView
structure a story
and
is
needs to be.
to
is
transfer the informa-
tion into a script formatting program so
anyone who has used a word processing program. This view presents
you can write the screenplay. StoryView
events in hierarchical order. In the time-
Screenplay
line view, the
width of an "event" deter-
mines the length of time

script.
The
hierarchy
it
occupies in the
reminiscent of a
is
has a seamless one button export into
Movie
Systems'
Magic
Screenwriter program with options so you
can select which

can
levels to transfer.
also save outlines
You
and timelines
in
board, with the items
rich-text format for use with other script
divided into stacked layers. Events can be
formatting and word processing programs.
sequences of scenes, single scenes, or
StoryView doesn't impose any theories
production
strip
acts,
"beats" within a scene. You can invent
your
own
you
desire,
many
about storytelling on the
writer. It simply
one of the standard
you the opportunity to determine

how much time an event occupies and
templates that are included with the pro-
displays the underlying structure of your
gram. Events can be positioned wherever
story.
structure with as
or use
levels as
gives
That's enough to
you choose on the timeline.
make StoryView
Screenplay
useful addition to a screenwriter's arsenal
Systems created a software program called
of tools. StoryView's ability to automati-
Movie Magic Scheduling that continues
cally calculate
to be the industry standard for handling
takes based
that tedious process production schedul-
this
Nearly
15
years
ago,
how much
on what's
program
time a scene
written, will
make
as essential as script format-
ing.
Even though Screenplay Systems no
longer owns the program,
it
has modified
the underlying technology to serve a
new
ting software.
For more information see www.screenplay.com.
purpose in StoryView.
filmmakers.
Screenplay Systems, one of the leading

developers of writing and film production
40
process of creating outline elements
is
sec-
too often structural
software, identified the
StoryView's outline features will be famil-
only),
scenes within a script.
new feature in version 2.0, the keyboard commands are confusing and the
is
more
iar to
write the script.
What
on the "when."
all
in a pleasing
and use that sequence of events
an approach that focuses
liner to create
the writer's attention
your ideas, eliminating the unnecessary or
order,
program
with the features of a traditional out-
Write
use.
on a
it
a film production scheduling
need
THE INDEPENDENT
for a tool
The scheduling component

ers
the
same
sort
of control over the
details that allowed unit
gives writ-
production man-
Robert
M. Goodman
and
is
an award-winning writer
Emmy -nominated
Philadelphia.
director,
Send your comments
based
in
him
at
to
[email protected].
to a
STORYBOARDING ON THE SUBWAY

TealPaint
a filmmaker
is
a film distributor, producer, director,
screenwriter,
Beth Pinsker
So when she was
in during preproduction
first
The
year
last
when
a designer at Industrial Light
&
Magic called to say he was using the

program to create individual animation
and
and then use

for
settling
directly into her
the
is
call.
Palm
TealPoint
clips
The
difference
Palm
is
whole screenplay to
Palm,
were a pencil, instead of using a
but
interactive
programs
out
including
there,
StoryboardQuick and Storyboard Artist
from Power Production Software, which
$250 and $800,
document
reader that could allow a
stylus as
There are more expensive storyboard-
and
their Palms,
filmmaker to download a
mouse.
ing
on
TealDoc,
drawing program, with the usual paint

that the user draws with the
allows
users to play short video
company started by former Lucas Arts employee Vince Lee. It

works much like any PC- or Mac-based
brushes and eraser tools.
tools,
which
Movie,
California-based
it
other
has
such as the new Teal-
paint program
from TealPoint Software, a San Rafael,
if
flip-
movie -industry
simple
cartoon
book) grew out of that
on the move.
TealPaint
The
frames
individual
(like
Pilot that allowed her to storyboard her
film
as a basis
it
drawings.
function that "animates"
on the
software application that
somebody beamed
new
create a
background
template
she relied on a few tools for help.
One was an $18
He would
eels.
is
and directed,
feature film she wrote

Girl,
before,
but she's no professional
graphic designer.
architect said he
TealPaint's being used for storyboarding
by
Artistic License president Sande Zeig
An
in the office.
Lee says he had actually heard of
mobile tableau
PC
sketches roofing designs on location.
neither
on the
a
is
fly
(Above) Artistic License presi-
dent Sande Zeig storyboarded

her directorial feature debut
on her Palm Pilot using the

TealPaint program.
respectively.
retail
for
Many
editing software suites like
Adobe
Storyboard sequence from

Zeig's The Girl.
Premiere and Apple's iMovie have story-
board features that allow filmmakers to

freeze
from their footage to place
stills
within a storyboard template, or work the
from
script
left for
a text file
around blank boxes
drawing. But these don't facilitate
the drawing
is
that
Web
"I just
figured
realized that
if
feature in the program], you
drawn and sent

like a
she'd
come home from

lie
a long day of
bed with
her Palm Pilot and sort out her next series

of shots. She drew very simple stick
ures, but
still it
was enough
for
now
sort of
Etch-a-Sketch gallery
program
wasn't
designed for a specific pur-
we hear
these stories
the time."
Once,
using TealPaint
to
shapes and colors
at their desks
teach her students

she'd quiz
them
right
by drawing on her Palm.
An
engineer reported using the program at a
power
he's
plant,
like TealPaint.
Since
starting
was
a teacher called to say she
fig-
her to go
on when she got behind the camera.

TealPoint's founder says by
pose," Lee says. "So

all
in
in
except more permanent.
"The
program was most useful
preproduction and she'd
"art
have
people
that
tures
necessarily
says the
an
features
of dozens of pic-
cycle."
when
TealPaint.
company's
the
it
you animate the
can get the frames to move through
She
for
site
gallery"
my own," she says. "Somebody

beamed me the program and I started to
[a
use
it's
out on
frames
found some
they've
say
new
itself.
easy to use and portable.
touch with the company to
Already
TealPaint's plus, says Zeig,
draw.
used to people getting in
where he'd draw sketches
wiring in the field and then transfer
ot
them
handheld computing
to
reach
TealPoint has yet to do

ing push for
its
just
is
mass,
critical
major market-
products. But
when
it
does, Lee says he'll -tart to tout the vari-
ous uses
ot TealPaint
and
moviemaking community.
For more information
sell
see
it
to the
www. teal
point.com
August/September 200!
THE INDEPENDENT
41
^
i.
SB
and
Titles
PORCHUGHT ENTERTAINMENT
film-
makers you
dis-
tribute:
LlSSA GlBBS
BY
Opponent by
The
Eugene
Shiloh
Porchlight
Entertainment
head
sitions
PorchLight Entertainment, 11777 Mississippi
Tung; Durango Kids
by
(310)477-5555 www.PorchLight.com;
Head
of Acquisitions,
PorchLight
EXT ERIAINMEXT
Root;
in
the
Sky by Jefferson Davis Ricochet River by Deborah

;
Zac
Reeder,
Ashton
John John
[email protected] Contacts: Zac
Reeder
by Sandy
Ave.Los Angeles, CA 90025; (310) 477-8400

fax:
of acqui-
Jarecki;
and Michael
del Prete;
Jacobs, Senior VP of Worldwide Sales
Scrapbook by Kurt Kuenne;
All
of
It
by
Jody Podolsky; The Outfitters by Reverge Anselmo;
Bored
Silly
by Bob Shallcross; and Wild Grizzly by
Sean McNamara.
What
is
and
How would you
PorchLight Entertainment?
PorchLight
an independent distributor
is
We
television.
of films
focus solely on programs that
tainment
It still
define family-friendly enter-
What
2001?
in
comes down
to
whether
a family
can watch
promote positive values and/or are family-friendly.
the film together. Will you be embarrassed watch-
PorchLight also produces and co-produces films
ing this with your kids? Will your kids be
and
and currently produces two animated
series,
series that air on PBS: Jay Jay the Jetplane
Adventures From the Book of
and
rassed watching
with you
it
embar-
We
it
and that
is
what drives
us.
We
enjoy
seeing films, making films, appreciate good films,
and
ing
Does
drives you to acquire the films you do?
love films
like
being able to shape the future of a grow-
company
like
PorchLight.
promote
morals that you agree with?
Community standards and
Virtues.
morals are always changing,

Best known
PorchLight's collection:
title in
and entertainment obviously

Treehouse Hostage, starring Jim Varney, released
changes with
by Trimark
We
it.
think the
the U.S., and aired on the Disney
in
best
enter-
family-friendly
Channel.
tainment
How, when, and why did PorchLight
come
into
being?
It
executive
VP
at
in
1995 by Bruce Johnson, former
Hanna-Barbera
to
promote positive
that
entertains without degrading
the
was founded
kind
the
is
we
human
positive
believe
Who
is
values
in.
PorchLight?
family values through entertainment.
Bruce Johnson
(president),
Baumann
Describe the distribution arm of PorchLight:
William
Founded by Michael Jacobs over four years ago,
CFO & COO). Michael Jacobs
the distribution
vision world.
tributor of films
We
sell to
Some
arm
We
is
mainly focused on the tele-
are the largest independent dis-
and programs suitable
every major broadcaster
for families.
in
the world.
(sr.
VP worldwide
Reeder (head
Broido
Joe
(exec.
sales),
VR
Zac
of acquisitions),
(executive/filmed
entertainment),
Fred
Schaefer (VP
&
producer,
Describe your co-production or co-financing of

of our
features are
product goes theatrically, but most

in
the $1-4 million budget range, so
they play well as TV movies.
We
children's
licensing
are young and

Total
aggressive and enjoy the challenge of working
in
&
programs),
Stefanie
Friedman
(VP
projects:
merchandising).
number
of
employees:
We
are open to co-productions and co-financing.
We
usually have a combination of pre-sales and
25
equity investment to get projects funded.
Many
of
business dominated by the studios.
How many works

Driving
philosophy
behind
the films
are
in
we produce
are co-productions.
your collection?
PorchLight
PorchLight sells
all
rights
worldwide to a catalog of
Where do PorchLight
titles
generally show?
Entertainment:
We want
to build the
most trusted name
in
over 50 feature films and 500 half hours of series
On
programming.
seen on the Disney Channel, HBO. Showtime, Fox-
THE INDEPENDENT
In
the U.S., our films can be
family
entertainment.
42
television mostly.
barded with studio product.
Where
PorchLight
will
be 10 years from now?
wave
Riding a
Jay Jay
from
ing
of billions
merchandis-
of dollars in
the
Jetplane, releasing films
working with
theatrically,
training
who
believe
of film
the power
in
and TV
change
to
the world.
had made
PorchLight
it
as a com-
pany when...
We

classes are offered
monthly.
advanced
knew
You
did???
Other distributors you

and Kentucky.
admire and why:

Call for
Disney because they have
such an amazing range
and
products
and
of
services,
commitment
more information
Maria Troy, 674 292-7617
to
quality.

www.wexarts.org
Porchlight Entertainment's
upcoming Wind
The
best
seen
lately was...
River.
Memento,
USA Network,
Family Channel,
and
Lifetime,
others.
Some
Starz-Encore, BET,
have
also
was so
It
limited,
I
saw
fresh and fun.
felt like
you've
film
Sundance.
at
did the first time
Blair Witch.
regional theatrical releases.
The difference between PorchLight and other

What's your basic approach to releasing a
Find out
it
will air
where
it
what are the
fits,
likely
title?
time slots
what broadcaster, and make sure the
with
marketing and promotions for the
title
position
it
as
such.
We market
publicize your releases?

directly to the film
territory,
also use our

to
we
so
Web
Where do you
and TV buyers
in
We
and other new technologies

for our product.
go
to
Toronto,
We
find your titles
and how should
many
IFFM,
festivals,
Heartland,
including Sundance,
product,
to give personal attention to
and small
each film
ttiM I VJUfD
VIDEO/ AUDIO POST
AVID
Montreal,
one
bit of
Please
advice, what would
stop
doing
your
it
final
be?
film-to-video
(telecine) transfer in the letterbox format!
Banff TV
with. This advice will
some
We need
we
deal
save you $10,000. (Donate
titles to
watch
ones
like
Island, Temecula,
Dances with Films, Marco
and others have yielded nice
Don't
to
in
words:
a film that only appeals to your family

it.
If
make your money back, research the marlike
us
Lissa
Gibbs
is
editor
to
The
Independent and former Film Arts Foundation

Most important issue facing PorchLight today:
Fighting for slots with broadcasters
who
are
bom-
Fest director.
Mixing
SOUND STUDIO
Voice-Over
ADR
Sound EFX
first!
contributing
Digital Pix
you
recent years:
Declining markets for daytime television product.
Editing
Audio Syncing w7
ketplace and talk to guys
Biggest change at PorchLight
/Graphics
/Titles
Experienced Editors
Sound Design
unless you only want your family to buy
want
films for us.
last
make
3D
for:
Fangs, Wind River, and Trapped.
Famous
/ XL 1000
Composer
savings to charity, okay?)
of the
Upcoming
Media Composer 8000

Film
Cannes, SXSW, and Cinequest (San Jose).
also scour the smaller festivals for hidden
gems
is...
use our connec-
to
full-frame masters for almost every buyer
filmmakers approach you for consideration?
Fest,
enough
move
effectively
tions to
If
usually stick to the trades.
site
promote and create buzz
We
enough
...that we're large
and filmmaker.
How do you
each
distributors of independent films
Foleys
Library
DUBS & XFERS

212.473.3040
August September
-WI THE
INOEPENOFNT
43
'bSs
as
a^--*)
we
a year. Generally
look at the candidate's back-
ground and experience (we have
FILM/VIDEO ARTS
how they
to do),
describe their project, and the size of the project
CHELLE COE
BY
believe they
to
can do what they say they're going
(that
feasible).
it's
What are your deadlines
We
program?
for this
offer this opportunity to three
spring and
the
in
people
The next deadline
fall.
the
in
be
will
toward the end of the summer.
Film/Video
Arts executive
Film/Video Arts, 50 Broadway, 21 st
You
fl.,
director
Eileen
New
Newman
(212) 324-3318 www.fva.com
NY 10004; (212) 673-9361;
York,
Newman,
Contact: Eileen
also
offer
define this
fit
Executive Director
filmmakers
to
to
Can you
sponsorship.
fiscal
layman's terms?
in
have a
Why
is
a bene-
it
agent?
fiscal
between
Fiscal sponsorship refers to a relationship
an
artist
and a non-profit organization. The organi-
zation takes on the artists' project, offers advice
and guidance, and most importantly, can accept
What
We
is
we
has been completed,
Film/Video Arts?
are a nonprofit media arts organization which
present
it
via a public
funds on the project's behalf.
screening.
us more about accepting funds.
Tell
has been around

tion
33 years.
for
We
provide produc-
and postproduction equipment,
Who can
fiscal
apply for this program? Are there any
sponsor-
and
artist
mentorship programs to
moment
At the
we're concentrating on emerging
our 1,200 members.
filmmakers
When and why

F/VA was
by
empower youth
and
to
into being?
the
group of educators to
their
tell
we were
Filmmakers, as
office
come
did F/VA
started
stories.
Young
then called, opened
its
on Rivington Street on the Lower
facility
East Side of Manhattan and eventually evolved
community
with the independent
into
Film/Video
of color
who have some experience
They need
field.
making
a film
and they can see
know the
it
craft
through to the
end. There really are no restrictions except that
you apply and you
live
outside
own
be able to provide your

dations
in
demonstrate that they not
to
only have vision but also that they

of
New
travel
York, you
if
must
and accommo-
accepted.
if
Who makes up
We have
30 freelance
full
instructors,
of projects
time, four part time, 25-
and 5-8 freelance
editors.
the
artist
get.
really
Sandi
depends on
DuBowski's
Trembling Before G-d began through this program,

as did
The driving philosophy behind F/VA
we
mentors
Mema
Spedolas Breasts:
22 Women on 41
is...
Breasts which broadcast on Cinemax.

to
opportunities
offer
for
have not had a voice
people
who
traditionally
to tell their stories.
of a very
men-
accomplished filmmakers who have

ability
and an interest
now we have
in
working
Jennifer Fox
few nonprofits with a

Alex Rivera
(Why Cybraceros?)
is
on the
is
fall
2001.
We
generally find people from
providing equipment, training, and resources
community.
What must applicants provide?

profile of
themselves
you do provide assistance beyond mere funds:

and
your Artist Mentorship
Program and
their background, a reel of past work,
Sponsorship. What
is
artist in the field to
work on the applicant's spe-
provide access to equipment,
sometimes
a cash stipend, plus a profes-
All
are applications judged?
submissions are judged by F/VA
Newman and
well
staff (Eileen
Jon Thome, head of education) as
as the mentors themselves. Out of 20-25
an accomplished film-
applications, six or seven are chosen for inter-
views, and three are selected. This happens twice
relationship
maker
to assist
with
THE INDEPENDENT
was
started at F/VA three years ago, there
istrator
all
sponsorship and
link. It's ironic,
you work
in
place. At the
in
attended a work-
felt like
had found
but as an arts admin-
the world of film, but you spend
your time involved
fundraising and
in
manage-
ment. You're removed from artists and their work.
So
saw the sponsorship program as
way
to
push
up my sleeves and get involved working with pro-
make
work. Today this program

of projects
are interested
that
on the project. Once the project
sional
44
When
We
How
Why
long has F/VA offered this program?
What types
that?
This program pairs filmmakers of color with an
training,
How
did you start offering this service?
a very direct contribuI
could
is
my
huge.
and a
Fiscal
description of the project.
We
Newman.
Eileen
carry that excitement to the other areas of
While you don't offer traditional cash awards,
project.
behalf of the project,
tion to their projects, to get excited so that
Filmmakers must provide a
uncle
either
In
oversees the F/VA fiscal sponsorship pro-
ducers, to be able to
the ranks of the F/VA family.
cific
letter.
administration fee.
We
slate for
still
6%
the missing
Stories).
to the
and take a
arts
more than 30 years,
we accept the money on
case,
tors?
look for
means your
can donate $10,000 and get a tax
conference that year,
artist
(An American Love Story) and Larry Banks (Blues
one
also take tax-deductible private
donations as a charity, which
fiscal
and choose these
organizations?
solid track record that, after
funds are awarded, they are award-
NAMAC
find
with other people. Right

Survival. We're
If
We can
ed to F/VA.
producers can
us,
foundations that do not fund
shop on
How do you
demonstrated an
What distinguishes F/VA from other media
individuals.
to
a very minor sponsorship program
provide services, workshops, equipment, and
educational opportunities at affordable rates. To
that working through
submit proposals
gram?
do you seek?
Any length and genre. The type
the organization?
a staff of 10
means
Who
Arts.
What types
we can
contract as a project's sponsor,
extend our 501(c)3 umbrella over the project. That
restrictions?
ship, plus youth
When we
we
in all
does F/VA seek?
types of projects. Of note
take student projects
is
very few fiscal
administration programs do. About a third of our

participants are students.
Because most founda-
tions will not fund student work, they mostly seek
private donations.
(left)
A scene from Sandi
SURVIVAL
DuBowski's debut feature

Trembling Before G-d which
premiered at the 2001
Sundance Film Festival and
was funded by Film/Video
Arts.
ENTERTAINMENT
MOTTO:
BUDGET
(below)
Filmmaker Sandi DuBowski
INSURANCE
How does
a producer apply?
D.R. REIFF
The producer must be a F/VA member ($75/year).
We
& ASSOCIATES
take applications on a rolling basis throughout
the year; applicants can expect a response
2-6
in
weeks, depending on how many other proposals
ENTERTAINMENT INSURANCE
are pending. (We get a ton of applications right

before the
NYSCA
deadline
packet includes: a one-page form, a
tion
resumes
posal,
reel.
and a
reel.
then
first project,
we
If
this
will
you are considering applying,
If
full
320
pro-
me
that you call or email
first to
is
How many
per year?
take the DP's
recommend
discuss the pro-
LAB
How many
program?
We
maybe 150
70%.
Right
What
is
projects do you approve
What does
proposals, and accept about
now we have 120
It
needs.
current projects.
widely
varies
do an
common
mistake applicants
inability to articulate their project.
filmmakers can't communicate what they plan

do,
they need to think
it
through
If
to
more before
approaching funders. Also there are some applicants
who
don't demonstrate an ability to follow
through on what
example,
if
we ask
rigorous
undertaking.
for a full proposal
mit a sentence, then

to
is
we wonder how
have the focus and
clarity to
For
funding 7
ing,
me
to say,
can you look at
they are going
produce the actual
you turn down a project, can the same indi-
same
pro-
ject again?
When
can you take a
where else could
a producer
they
all
involve
ing education. Often
is
very
new
seek
to fundrais-
producers have taken our advice,
and come back with a
stronger concept for their project, that we've
have supervised
over 10 features
edited on
Editorsl
Trainins
Cut Pro
Final
some degree
send them
of fundrais-
to AIVF for help
CLIENTS INCLUDE
HBO
i^flftfc.
Jk
PBS
BBC
What funders do you work

NYSCA
a great place to start. They are really support-
you can talk
to a
We have some
NEH,
and
person and get great feedlarger grants
Open Society
is
The Jerome
Others that
some employers
Ettinger.
Also
employee contributions,
for
Lions Gate Films
offer
like
646
515
7865
come
mind are more specialized: AT&T, CBS, Hefner,
funds
Bravo
Oxygen Media
from the NEA,
Institute.
really supportive.
IFC
with most often?
an important funder for our producers.
is
back.
to
onsite/offsite
and research resources.
Foundation
collected their thoughts,
project? Or,
We
might suggest they also take one of our work-
shops
ive,
Sure. Several
my
look at
It's
much
to
and they sub-
vidual apply for sponsorship for the
System Rental
Tech Support
program. After that, a film-
into the
maker might come
film.
If
OFFERING
producer's
consultation with each pro-
this proposal? Or, I've hit a wall,
an
it's
Post
PRO SPECIALISTS
make?
Usually
depending on the
initial
ducer accepted
the most
FINAL CUT
sponsorship with F/VA offer
fiscal
besides nonprofit status?
for the
get
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of key personnel, a detailed budget,
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What
one productions
all in
is
They'll put
www. a
make
the biggest mistake producers
when conceiving
all
their fundraising plan?
their energies in
ing that one funder will
one place, assum
come through
in
Then there are the producers that look
a big way.
at a
founda-

tion
Uncompressed Video
Media 100
I'll
never get funded, why bother?
You have to be ready to do the work and take the

risks.
Cut Pro
Final
and think,
After Effects
What
Commotion Pro
seeking funds?
is
your best piece of advice for producers
Protools
Think outside of the box. Don't just go to the usual
Talented Editors
one
folks: Yours will be just
HDCAM 24P/60i
who have
Betacam
Betacam SP
will
DVCPRO/DVCAM/DV
SP/S-VHS
U-matic
obvious that you
really
the foundation has an interest
get
in
money when
their individual
Independent producers might freelance, but there
Down
is
last
words?
a lot of support out here. Organizations
Via HD-SDI/Firewire
like
Time Code Burn-in
the IFR and AIVF. This
Digital
Cameras
like
is
a very rich
within which filmmakers can
make
environment
their work,
and
importantly, get
it
out there.
Michelle Coe
is
3/4"
Reach the
Beta decks
heart of the film
Nextels
ours,
Movies, Third World Newsreel,
HHB SQN
Sony PD1 50/1 00
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Any famous
Cloning
Conversion
Cut Pro
Matrox
It
make assumptions. People
HD/ Digital
212.868.0028
Final
can't
DP & Crew
XL-1
interests or a mission that your project
serve.
project.
Hi-8/Video 8
Canon
of pro-
posals. Think of smaller funders to target, those
Digital
High Def
hundreds
of
support:
Denecke
community...
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ennheiser
mbustion
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igifal
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ustrator9.0
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Boris
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Red
Advertise with
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MPEG-2
Comteks
Pagers
Discreet edit*
Neumann
Lipstick
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Digital
still
DVCAM
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Lectrosonics
You'll
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Inviting
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though not exclu-
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to
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22,
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c/o The Rief Center, 720 Connifer Drive, Grand Rapids, Ml
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Cambridge, Mass., seeks works under 30 min.
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add $5;
Contact:
ming, Box 720040, San Jose,
Touring program of selected works travels to U.S. and
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entries
$25
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Preview on VHS. Entry fee: $15 (plus
in
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New
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Theme
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edition
is
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Cinema:
Orleans, LA. Last
entries from
as accomp.
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&
Independent Voices" and
will
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short,
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Over 100 broadcast & nonbroadcast cats. 13 regional
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& 6/30/01.
7/1/99
Cinema
Classics,
must have been complet-
Texas." Scripts
in
between
ed
630-
fax:
www.ancestral
works from Asian America & Asia w/ 100-
for
110 works shown. Fest
Sept. 28-Oct.
GA. Deadline: Sept.
1,
events, panels, installations, galas. Fest sponsored by
American Telecommunications Assoc.
Asian
Nat'l
(NAATA). Cats: feature, experimental, short, animation,

doc, mixed genre. Formats: 3/4", Beta
&
noncompertitive gay
Atlanta's
accepting works of
35mm,
1",
$30
Contact: SFIAAFVR Chi-hui Yang, Exhibition Dir,
(final).
2nd
St.,
863-0814;
fl,
863-7428;
fax:
festival
1.
&
transgender
that were
com-
feature gay, lesbian, bisexual
Audience
Awards:
themes.
16mm, 35mm,
Formats:
lesbian film festival
& genres
lengths
all
pleted after 1/30/00
Easier for editing
&
Award.
Preview on VHS. No
1/2", Beta.
entry fee. Contact: OOF, Genevieve McGillicuddy, fest
IMAGE
din,
Film
& Video
Center, 75 Bennett St. NW., Ste.
GA 30309; (404) 352-4225;
N-l, Atlanta,
As lonfi-time
AIUF members
[email protected];
0173;
fax:
352-
www.outonfilm.com
or
www.imagefv.org
our goal is to help

other independents
PINK BUBBLE BATH, Dec, CA. Deadlines:

15
Oct.
SHORTS INTERNATIONAL FILM FESTIVAL, Nov. 5-8,

NY Deadline: Sept. 15. Now in 5th yr, fest aims "to put
map" & boasts advisory board
shorts back on the
the Coen bros., Susan Seidelman

in
Manhattan at Sony Theaters Lincoln Square. Cats:
must be complet-
Length: 40 min. or less. Films
digital.
ed after Jan 2000. Awards: Grand Prize of $2,000 to
winning director
in
become
eligible
for
Formats:
35mm, 16mm,
each
Films that win awards
cat.
Academy Award
consideration.
Oct.
1;
DV.
Web
$25. Entry form avail, on
& Miami.
in
907-1288;
(212)
length.
in
Contact: SIFF, Lisa
site.
NYC,
New
fl.,
York,
NY 10010;
must be no
cats accepted. Films
All
longer than 30 min.
Edit
incl.
Lee. Fest held
animation, comedy, doc, drama, experimental, student,
Walborsky, 545 5th Ave. 5th

Detroit
& Ang
Fest seeks non-gratuitous sexy films from
(late).
around the world. Post-fest screenings held
SP
Entry fees: $25 (early);
naatanet.org; www.naatanet.org/festival
Newly reconfigured
DIVA
filmmakers,
for
coverage by media, industry press. Also special
local
(415)
OUT ON FILM,
venue
is "lively
& Asian communities" worldwide. Extensive
industry
NAATA, 346 9th
films.org
AVID 1G00/AVR77
showcase
fax:
Awards: Audience Favorite

www.shorts.org
&
1-800-324-AVID
330 W 42nd St NYC
SP Preview on VHS.
pkgs. Formats: Beta
& sponsor
Jury Favorite; prizes of production services
$35
Entry fees: $30;
Contact: PBB, 0. Perez, 800 3/4 Lucile Ave.,
(late).
Los Angeles,
CA 90026; (323) 906-9447; o.perez@
pinkbubblebath.com; www.pinkbubblebath.com
SLAMDANCEFILM
Aug.
year-round
objective
Anarchy online section has
by 3 filmmakers
is
to present
new
comp
screenplay
rolling deadline; Sci-fi
Started
13.
FESTIVAL. Jan. 11-19, CA. Deadlines:
(early); Oct. 1 (final);
Sept.
1995, test's primary
in
new filmmak-
indie films by
SAINT LOUIS INTERNATIONAL FILM FESTIVAL. Nov.8M0. Deadlines: Aug
18,
fest brings together
concurrent w/ Sundance Film Festival
takes place
the heart of Park
&
annual
15; Sept. 15 (late). 10th
American
ers. Fest runs

in
shows
Utah. Fest
City,
horizon-expanding
indies,
features, shorts, docs, foreign features, animation, video,
to
or
& mainstream
films
int'l
studio films to audiences prior

digital,
streaming.
interest
&
showcased
Films
industry
attract
commercial release. Features must be director's 1st
2nd
work
full-length
be
to
eligible
& agency
several have received distrib.
rep.
Emerging
for
Cats: short, doc, feature, animation, experimental, any
Filmmaker Award. Cats:
short, doc, feature, animation,

style or genre.
Awards:
foreign.
Cash & non-cash
year for Jury
last
35mm, 16mm,
Beta SP Preview on VHS. Entry fees: $50
$25
(features);
(shorts, under
45
$100/$50
min.);
Awards: $70,000 worth
16mm,
& Audience Awards.
Entry fees: $20-$55. Contact:
6381
manager, 55 Maryland Plaza,
A,
Ste.
St.
M0
Louis,
Hollywood
Blvd.,
90028; (323) 466-1786;
63108; (314) 454-0042;
fax:
SUNDANCE FILM
SAN FRANCISCO INDEPENDENT FILM FESTIVAL
(postmark). Fest seeks features

event.
filmmakers
All
Oct.
FESTIVAL, Jan. 10-20,
28
will
&
independent filmmaking
1985
in
in all of its
diver-
shorts for 4th annual
Sundance
CA campuses
new
for
is
the premiere U.S. competitive show-
ind. films.
competition of
incl.
films, non-competitive
Awards
for
&
int'l
ind. feature
plus
Short,
award
and foreign feature films &
of both
new American
shorts. Dramatic
& doc
for
entries
35mm, 16mm,
program
Best
ind.
Indiefest Staff Favorite. Formats:
domestic
for
new American
Feb./March. Cats:
in
feature, animation. Awards: Audience
Best Animated
Showcase
planned travfilms,
and
UT. Deadlines:
Founded
earn a percentage of their
film's box office revenue. Films eligible for
Feature
(features).
26
case
eling festival of N.
can afford.
CA
466-1784; mail@slam-
(a.k.a.
sity,"
at rates the artist
Baxter,
Angeles,
dance.com; www.slamdance.com
to "recognize
Off-line
fax:
Los
SF IndieFest), Jan 31-Feb.lO. CA. Deadlines:
Composer
Slamdance, Peter
#520,
www.sliff.org
Sept. 21 (shorts); Sept.
Avid Media
35mm,
SR DVD, Web. Preview on VHS.
3/4", 1/2", Beta
(all
Dir,
included.
awarded
Formats:
Contact: SLIFR Chris Clark, film program
late films).
Everything
of prizes
Formats:
prizes.
must have
significant U.S. financing
& be com-
Beta
pleted no earlier than Oct. of 2000. Running time no less
SP
1/2",
form
DVD. Preview on VHS. Entry fees: $20. Entry
than 70 min. (drama); no less than 50 min. for doc. For

avail,
Divisadero
kitchen
Y
Web
Contact:
site.
#183, San
SF
Francisco,
IndieFest,
530
competition, entries
may
Feb.
more than 3
not open theatrically before
CA 94117; (415)
1
of
yr.
of fest in
N.
American markets
820 3907; [email protected]; www.sfindie.com

or be broadcast nationally. Competition entries
SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN
225 Lafayette, suite 1113, Soho

Tel: (516) 810-7238 Fax (516) 421-6923
THE INDEPENDENT
on
St.
FILM
AND VIDEO FESTIVAL. March
Deadline:
Sept.
Noncompetitive fest
14
is
(early);
the largest
Oct.
7-17.
12
CA.
(final).
& most prominent
play
may
in
any domestic film fest
play
in
prior to
may
not
Sundance. Films
up to 2 foreign fests. Films produced,
financed or initiated by major motion picture studio not

eligible
for
comp.;
however,
any
film
conforming
to
above guidelines & produced, financed
completion
50%
Foreign feature films (less than
eligible.
is
or initiated by
purchased by studio after
division of studio, or
ind.
may
U.S. financed) not eligible for comp., but
& must be
submitted for test screening consideration

subtitled
One rep
English.
in
each comp. film
or
be
will
be
invited to attend as test's guest. Cats: feature, short,
awards Grand
doc. Ind feature film competition
Prize,
Cinematography Award & Audience Award (popular balOther awards:
lot).
Award;
doc
in
Freedom
cat,
eligible
inclusion
for
Show. American films selected
Int'l
film cat eligible for special
grams have
Screenwriters
cat,
Expression Award. Films
of
become
selected for comp.
Sundance
dramatic
in
WIDCFVF, Sabrina Craig, Program
#500, Chicago,
941 W. Lawrence,
Dir.,
60640; (773) 907-0610;
IL
907-
fax:
0381; [email protected]; www.widc.org

Deadline: Oct.
IL.
1,
&
$15 per tape (maximum 3
or Mini DV. Entry fee:
short films per tape). Checks or
made
out
Ave.
#123,
money
Artvamp, LLC. Contact:
to:
Chicago,
333 W. North
(312) 409-3890;
75,000
of
mers, journalists,
&
agents.
Int'l
types of films,
All
animation, accepted.
shown commercially
in
Awards: Grand
Hydro-Quebec
Canada. Cats: any
Prix
tion; Prix
Telebec to best short or
($1,000
prize);
Anime
Prix
competition. Formats:
No
DVD.
entry
press coverage
5W8
J9X
Foreign
3630,
Lake
Salt
16mm,
Sundance
Inst.,
Box
UT 84110. Formats: 35mm,
City,
Preview on VHS. Entry fees: $20-$50. Call
DV.
Web
on
for entries avail,
Contact: SFF, Geoffrey
site.
Programming/John Cooper Assoc.
of
Dir.
8857 West Olympic
Programming,
Blvd.,
Dir.
CA 90401; (310) 360-1981;
Hills,
$100 FILM FESTIVAL,

Oct.
Jacques
FCIAT,
new & experienced
FESTIVAL INTERNATIONAL DU FILM INDEPENDANT,

Founded
Canada
outside
Entries
"Cultural Purposes.
should
Formats: super
8,
Cash
open
to all
60+
countries participate. Fest
formats
super
in
Ste.
200,
fax:
360-
Filmmakers,
$100
FF,
or Beta.
No
Society
of
Calgary
Box
23177 Connaught
must
[email protected]; www.csif.org/100filmfest/index.htm
TELLURIDE INTERNATIONAL EXPERIMENTAL CINEMA
BRUSSELS INTERNATIONAL FILM FESTIVAL,
EXPOSITION,
26, Belgium. Deadline: Oct. 19. Founded
in
main section
which features
new country
Fest,
seeks films for
second annual event. Cats: Non-
its
35mm
in
modations
tions:
is
expo for every film that
for entire length of
16mm, 8mm, super
accepted. Formats:
8,
35mm.
Preview on VHS. Contact: TECE, 2 North Cascade, Ste.

1100, Colorado Springs,
CO 80903;
(719) 277-6657;
60 min.) & shorts
(longer than
narrative experimental film only. Awards: Luxury acco-
European Competition,
is
compete
in
Ian. 16-
1974, fest's
20 min.) shot
(less than
Awards. Other sec-
for Crystal Star
Kaleidoscope of the World Cinema (out of compe-
tition),
open
to all features in
35mm;
not have been broadcast
"Filmed
made
National Short Film
spotlighted
is
&
special programs are set up
doc. Awards:
Special
Jury
Award &
Prize
16mm, 35mm,
Formats:
No
cash prizes for Best
incl.
3340;
fax:
panel
sions,
discussions
&
incl.
Q&A
4-10, Australia. Deadline: Oct.
2.
In
its
12th
yr.,
utes to film personalities, etc. Cats: feature, short, doc.
&
for
competitive
& open
any
Preview on VHS. Contact:
film or video production
under 30 min. Fest
incl. int'l
Formats:
short
35mm, 16mm.
is
European pro-
distribution worth over $125,000).
& doc
market. Entries must be on film for competi-
Jac-
BIFF,
tion (Beta
SP accepted
&
for docs)
be
English or have
in
English subtitles. Preference given to films completed w/in
sesBelgium; Oil 32 2 227 39 80; fax: 32 2 218 18 60;
broadcast over the
live
Rue Paul Emile
322 649 3340; [email protected]
queline Kuzee, Chaussee de Louvain 30, 1210 Brussels,
Commodore Theater
SP Preview on VHS.
1/2", Beta
entry fee. Contact: FIFI, Samira Amor,
FLICKERFEST INTERNATIONAL SHORT FILM FESTIVAL,
Deadline: Oct. 31; Feb. 28 (late). 5th annual fest,
held at Brooklyn's
Best Doc,
Janson 12, B-1000 Bruxelles, Belgium; Oil 322 649
to
NY
Director,
Tomorrow's Cinema.
of
Special programs include Night of the Short Film, trib-
motion
3 9,
Deaf
of
Competition; Belgian Focus; Focus on Dutch Cinema;
Awards: Crystal Star Awards (support
WILLIAMSBURG BROOKLYN FILM FESTIVAL, May
world pre-
by deaf directors. Each year, a
Australia's premiere short film fest
cinema.com
in
Creation
by different countries. Cats: animation, short, deature,
Jan.
[email protected]; www.experimental
work-
237-5838;
fax:
film.com; www.sundance.org
1.
different
artists,
dance & short
retros, video
Competition
Special
People," for films
Oct. 26-29, CO. Deadline: Sept.
welcomes many
performances by
Calgary,
PO.,
Canada T2S 3B1; (403) 205-4747:
16mm & 35mm.
8, video,
short,
$500-$l ,000.
prizes
16mm. Preview on VHS
Contact:
fee.
now
packages:
label
No Commercial Value." Cats:
Awards:
experimental.
1978,
in
competitive fest began as showcase for super 8 film,
shops on new technologies,
dedicated to premiering work from the avant-garde,
762-6762;
(819)
fax:
filmmakers to make "shoot from the hip" exp shorts.
entry
[email protected]; www.sundance
Matte,
Canada
Nov. 15-18, Canada. Deadline:
10th annual fest encourages
1.
miere.
1969;
in
Preview on VHS or
[email protected]; www.telebec.qc.ca/fciat
films. Entries
Beverly
not
length feature
Mercier, Rouyn-Noranda,
disciplines, incl. photos,
Gilmore,
&
competi-
to best in
Nov. 6-11, Belgium. Deadline: Sept. 15.
extensive. Fest's admin, address:
must've
yr.
best animation film
to
762-6212;
(819)
incl.
style or genre.
medium
35mm, 16mm.
Contact:
fee.
215 Avenue
Director,
short,
incl. fic-
entries
All
been completed after Jan. 1st of preceding
[email protected]; www.zfilmfestival.com
major distributors, program-
incl.
critics
Canada. Deadline:
1,
programs over 80
orders should be
ZFF,
60610;
IL
yr.,
20 countries.
3/4", Mini DV. Preview on
SP
videos. Formats: Beta
VHS
Cinema. About 200 works selected for each test & large
audience
&
doc,
tion,
experimental, underground, strange, and beautiful films
27-Nov.
20th
in
feature-length films. Past editions have
2nd
1.
Oct.
now
Fest,
1.
annual "festival with teeth" seeks non-conventional,
in
& World
section
Sept.
films from over
Z FILM FESTIVAL, Dec.
short
in
FESTIVAL DU CINEMA INTERNATIONAL EN ABITIBI-
TEMISCAMINGUE,
medium &
award. Other special pro-
American
Latin
incl.
VHS. Entry fees: $30; $20 (WIDC members). Contact:
last
2 yrs. Cats: doc, feature, animation,
short,
doc.
[email protected]; www.brusselsfilmfest.be
Cats:
Internet.
feature,
experimental,
doc,
ser-
CLERMONT-FERRAND INTERNATIONAL SHORT FILM
Animation, $1,250
be awarded th "Cha-
FESTIVAL, Feb. 1-9, France. Deadline: Oct. 19. Fest pre-
($590). Formats:
Awards: "Grand Chameleon Award" ($30,000

vices).
Winners
meleon"
each cat
in
Formats:
statuette.
35mm, 16mm,
will
3/4",
1/2",
Hi-8, DV, DVD. Preview on
fees:
Ursino, fest
$50
NY 11211; (718) 388-4306;
VHS
WBFF, Marco
sents major
sented.
w/ over 50
countries repre-
VHS
competition provides spectacular view of
tape
int'l
Int'l
competition
worldwide cinematographic creation, screening over 70

films
w/ audiences
of over
125,000. Cats: feature, doc,
S.,
Brooklyn,
animation, experimental, short. Awards:
599-5039;
marco@
Vercingetorix
St., Ste.
fax:
8,
(non-returnable).
Contact:
(late).
180 South 4th
dir.,
formats accepted,
All
Entry
$25;
in
S-VHS, Beta SR super
8mm,
Awards: Best Film, $2,000
short.
award,
Choice. Entries
wbff.org; www.wbff.org
Special
Jury
must be 40 min.
incl.
or less
Grand
IN
THE DIRECTOR'S CHAIR FILM AND VIDEO

hotel
FESTIVAL, March,
IL.
yr.
& completed
FISFF,
AUD
SP Preview on
3/4", Beta
$25 AUD (approx. $15)
Contact:
Australia 2026;
extra for
Box 7416, Bondi Beach,
Oil 61 2 9365 6877;
fax:
61 2 9365
6899; [email protected]; www.flickerfest.com.au
INTERNATIONAL FESTIVAL OF AUTEUR FILM.
Nov. 23-
30, Yugoslavia. Deadline.- Oct. 15. 8th annual fest's aim

after
is
WOMEN
Jan. 1 of preceding
return.
($735); Best Doc, $1,000
35mm, 16mm,
(PAL). Entry fee:
(approx $1,175); Best
Prix,
& Audience
Prize
AUD
AUD
to present films
made
by authors/directors
w/
their
Directors invited to fest for 9 days;
accomm. & food allowance
own view
paid,
into the world
& human
life.
Fest intends to be
plus 75 euros
Deadline: Sept. 14. 21st annual
a gathering of
int'l
film directors; offering
an ideal oppor-
(approx. $75), toward travel. Fest also hosts short film

fest
is
the largest
&
longest running
women's
film/video
tunity to
market w/ large catalog

fest in U.S. Last year's
standing works from
10-day fest
women
incl.
selected works.
buyers have participated over the

directors around the world,
guest artists
&
yrs,
incl.
Channel
BBC, YLE, La Sept-Arte, France
2;
long
nat'l
Participants
tour.
&
in
viewing approx 2,600 tapes of shorts. Formats:

in
year-
of screenings. Cats:
any
35mm,
Dir.,
1/2".
&
press, plus a few
Awards: Aleksandar Petrovic Award.
35mm, 16mm
FAF, Jugoslavia Film,
63058 Clermont Ferrand Cedex
1,
Makedonska
22. 11000. Belgrade,
France; Oil
Yugoslavia; Oil
fax:
fee. Contact:
La Jetee, 6 place Michel-de-
style or genre.
33 473 91 65 73;
Beta,
or color stills.
Formats: Beta SP 1/2" (video program);
Awards: Non-competitive film & video prizes awarded.
16mm, 35mm,
short filmography/bio for catalog
B&W
(main program). Preview on VHS. No entry

I'Hospital,
Formats: 3/4",
in
entry fee. Contact: CFISFF,
your receive stipend
Roger Gonin, Festival
based on number
list
2,000
to a hip-
hop extravaganza. Some works may be included
w/ preview: one dialogue
4,
diverse programming from an inter-
women's video workshop
Incl.
English or French, photo of director, short film description

ZDF,
professionals attend. 25 video units avail, to buyers for
generational queer
of
over 2,600 prods. Several
over 120 out-
Canal
int'l
listing
encourage promotion & commercial distnb.
324 8282/322 0319;
fax:
381
11
324
33 473 92 11 93; info@clermont-
Preview on
filmfest.com; www.clermont-filmfest.com
8659; [email protected]; www.yufilm.org/auto
Wmim
vpu-ink-r 2001
THE INDEPENDENT
49
5)
-jEiS'-i'jr y_.
DOCUMEN-
LEIPZIG INTERNATIONAL FESTIVAL FOR

is
TARY AND ANIMATED FILMS,

Deadline: Aug. 25. Under
theme "Films
Human
funded
85 years
Ifyour new work
and other
institutions
worldwide.
Competition,
Int'l
Competition
call.
shown
Awards:
510-643-2788
35mm, 16mm,
[email protected]
ê& AM
Final
Cut Pro
post-production
Betacam QP, DVCAM

DV, Timecode DAT
Uncompressed video
video
at
discount rates.
Film to Tape
software
Filmlogic
Transfer
Leipzig,
24 Frame
$1 75/hr.
editing
Igniter Film
$1 20/hr.
new trends
in
for
world cinema
work
card
Sections
tive, int'l indie films.
is
number
Nov.
year,
also Balkans' pri-
& emerging
filmmak-
Competition for
incl. Int'l
Info section
&
of special events, galas, etc. All participating
should
films
42nd
in
2nd features; Retros; New Horizons.
1st or
be
Awards:
premieres.
nat'l
Alexander (36,700 euros, approx. $31,450)
Golden
&
Silver
Alexander (22,000 euros, approx. $18,850). Formats:
35mm, 16mm.
Preview on VHS. No entry fee. U.S. con-
One
tact: Valerie Kontakos,
Michel Demopoulos,
dir.,
$ 85/hr.
TORINO FILM FESTIVAL,
140 5th Ave, NY NY
741-5898. Contact:
40 Paparigopoulou
[email protected]
11473, Greece; Oil 30
Art Prod.,
fax:
$ 85/hr.
storage
Now
new filmmakers & showcases innova-
$ 85/hr.
300 GB
young
of
Post
Oil 49 3419 80 39
10-19, Greece. Deadline: Sept. 24.
Animation Stand
Digital Audio
GroBe Fleischer-
Leipzig,
Germany
10011; (212) 929 4230;
Formats:
Prize.
3419 80 61 41; [email protected];
ers. Fest targets
and
services
Sparkassen
Prize,
yr.
Ecumenical Jury
Silver Doves,
THESSALONIKI INTERNATIONAL FILM FESTIVAL,
fest of
quality
must
www.dokfestival-leipzig.de
broadcast
& anima-
Beta SR Preview on VHS. No entry fee.
mary showcase
to
retros.
genres,
all
animation films)
LIFDAF, Dokfestival
21; fax: 49
artists
&
FIPRESCI Jury
gasse 11, 04109
provide
&
of
public prior to June 1 of preced-
in
Golden
incl.
Contact:
programs &
special
About 300 productions showcased each
yr.
Prize,
We
of older
Entries for competition or info programs
not have been

ing
one
is
cinema or TV doc films
incl.
productions on video (doc

tion films.
is
of the World-For
1956,
in
distributor,
Dignity," this test,
competitive events focusing on doc form. Sections
int'l
incl.
with
16-21, Germany.
Oct.
645 3669;
Nov.
30
fax:
15-23,
Aug. 31 (shorts); Sept. 30 (features).
644 8143;
Deadline:
Italy.
Now
TIFF,
Athens
St.,
celebrating

19th year, fest
Info.
areas
PO Box
Tel:
184 NY,
NY 10012-0004
212.219.0951
Fax: 212.219.0563
www.standby.org
in film.
shorts films
&
2-228-4254
H00
shown
One 40' piece

makes an 18' run
films shown. Cats: feature, doc,
Best feature,
Torino, Italy
562
Oil
Best
$18,500;
35mm,
10121; 39 Oil 562 3309;

[email protected];
9796;
presenting about 70 features
ent
German
Berlin.
cities:
Nov.
&
short prods,
to best feature;
35mm, 16mm.
[email protected]
www, porta-jib.com
Rosebud
Fregestr. 36,
fax:
12,
the
in
5 differ-
Munich, Stuttgart, Frankfurt, Cologne
Ent.,
12161
Cash
prize of
$1,000 to best short
Preview on VHS. No entry
fee ($25 for return of tape). Contact:

Muller,
is
film festival in Europe,"
Cats: feature, short. Awards:
Formats:
21-Dec.
11th annual event
1.
"most successful gay & lesbian
4532;
300
Germany. Deadline: Sept.
film.
with
Using two pieces

makes a 40' run
THE INDEPENDENT
Pieta 1
$5,000 awarded
and accessories
50
2000); non-competitive section (features
VERZAUBERT FILM FESTIVAL,
&
optional Spider Dolly
EASY WRAP!
&
premieres complet-
www.torinofilmfest.org
For All Losmandy

Dolly Systems
FlexTrak
direc-
Beta SR 1/2". Preview on VHS. Contact: TFF, via

di
39
fax:
Tr*^
Italian
Screenplay, $1,600; Best short, $2,800. Formats:
16mm,
PORTA.
new
Competition for feature
incl. Int'l
Awards:
script.
Monte
tosma^
1,
docs). About
short,
21
Sections
(35mm & 16mm,
ed after Oct.
www.earfhvideo.net
for
trends with the goal of helping discov-
support and promote new directors and emerging
er,
ID
showcase
a competitive
is
& filmmaking
tors
VFR Schorsch
Veranstaltungs und Medien

Berlin,
GmbH,
Germany; Oil 49 30 861
49 30 861 4539; rosebud_entertainment@t-
online.de; www.queer-view.com/verzaubert
TEN SCREENPLAY COMPETITION:
HOLLYWOOD SCREENPLAY CONSULTANTS SCREEN-
ONE
WRITING COMPETITION:
To find quality screenplays for
positive portrayal of gays
Hagan Productions,
produce
LENGTH AND MAKES NO GUARANTEES ABOUT REPETI-
distribute.
TIONS OF A GIVEN NOTICE. LIMIT SUBMISSIONS TO 60
character or story driven, feature film screenplays. Should
MEMBERS ARE
CHARGE
OF
FREE
SPACE
AS
LISTED
THE
PERMITS.
HOW LONG
be
TWO MONTHS PRIOR TO
90-120
WORDS &
INDICATE
COVER DATE

accompany all notices. send to: independent
notices,
fivf,
Cine-Vision
Seeking low budget (less than $1.5
live action, 1 or
to
million),
2 locations ideal, 10 or less characters,
Any genre considered. Cats:
pgs.
2000
feature, short,
production or not). Each entry
in
optioned,
turnaround,
in
in
must not have been
sold,
preproduction or have been
6th fl, nx ny 10013.
produced at time of submitted deadline. Prizes: 1st place,
as possible, but double-
$2,000; 2nd place, $1,000; 3rd place, $500; a prominent
304 hudson
we try to be as current
&
animation, TV movie, TV mini-series, TV series (currently
FOR NOV ISSUE). COMPLETE
SEPT. 1
(E.G.,
Inc. to
st.,
IN
3rd year, competition
WGA
agent, a
Competitions
dios. Top 3
signatory agency,
will
1.
be produced
Ten
In
[email protected]; www.screen
629-3072;
playcontests.com
SCRIPTS OPEN DOOR

promote
&
CONTEST: Competition aims
new
recognize a talented,
& an "Open
by awarding them cash
winners
&
the major stuwill
&
receive free copy of Screen
will
entry receives 2 pg. critique
& coverage
choose the winner
work w/
to
screenwriter
Door" to the industry.
& may
contact any
of the
the future. Entry fee: $40. Deadline:
5638
Aug. 3. Contact: Marisa Corona, Scr(i)pt Magazine,
of their screen-
Sweet
in
MD
Air Rd., Baldwin,
$75 per screenplay. Deadlines:
play from HSC. Entry fee:
in
21013; (888) 245-2228;
(410) 592-3466;
nal or adaptation
you have
wwwscriptmagcom
up to
fax:
contests scnptmag.com;
subject or genre, origirights);
site or
CO 80306;
Screenplay Competition," Box 540, Boulder,

(303)
its
cash
to winners. Deadline: Sept.
summer 2002. Any

(if
offers
Top 10 finalists are forwarded to a production company,
Stage Play Marketing Secrets by James Russell. Each
16mm film to
&
by sending s.a.s.e to Cherub Productions, "One
which
of
to all writers
Entering
Complete rules & entry forms available on Web
finalists to
awards $300 & video copy
open
is
promote
To
in film.
consider winners for
representation to production companies
8th annual short screenplay competition
lesbians
awards & industry contacts
discover,
&
30 min. low-budget production. No entry fee

or
1.
Send
School
Competition,
Grand Valley State
Communications,
of
HOUSE NEWS
CONFERENCES
University, Allendale, Ml
to
WORKSHOPS
INTERNATIONAL FILM AND TELEVISION
Through its Crime and Communities Media Fellowship, the

Center on Crime, Communities and Culture, a project of the
Open Society Institute, seeks to support working journalists and
news organizations
Screenplay
Contact:
synopsis.
pg.
&
screenplay
full
JAIL
returned.
not
scripts
application;
Deadline: Dec.
WORKSHOPS
with
the
offer
hands-on training
equipment
latest
in
under the guidance
of
leading professionals.
In
improve the qual-
and depth of
media coverage of
ity
screenplay competition designed to pro-
&
vide outlet for emerging talent
related
impenetrable
to
workshops,
incarceration in the
Four to
awards of up
U.S.
incl.
&
agents, managers
other industry
executives. Cats: 1/2
hr. pilot,
com,
drama & long form.
1 hr. pilot, 1 hr.
1/2
$45,000
$2,500. Entry fees: $35-$50, depending
on format.
Appl.
Web
on
avail
2118
Wilshire
Blvd.,
CA 90403;
Monica,
be
will
Martha's
print,
photography
Contact:
One
made
to a television
up to one year
to
produce a
regional issues related to incarceration or
2nd
sponsoring
is
from
Screenwriting
former inmates. See
Competition,
dedicated
on
236-8581;
(207)
St.,
04856;
fax:
local or
[email protected];
236-2558;
community re-entry by
www.TheWorkshops.com
listing.
Films
Tapes Wanted
DANCE CAMERA WEST: Dance Resource
"the
finding,
to
&
Dec.
1.
Contact: 17216 Saticoy Street,
#303,
Grand
story of the year."
soulful
ME
Script
Sept.
most heartwarming,
series
annual
Soul
the
& TV Workshops,
be
reporter to devote
AMERICAN SCREENWRITERS ASSOCIA-
Peru.
Box 200, 2 Central

Rockport,
info@American;
&
International
to
www.AmericanAccolades.com
TION
Vineyard,
Greece, Norway
Film
160B, Santa
Ste.
Provence, Mexico, Cuba,
award of up
may
$30,000
Deadline: Aug. 30. Contact: Accolades TV,
Tuscany,
in
to
in the fields of
and/or radio.
site.
film expeditions
are offered
made
prize:
courses,
five
hr. sit-
Grand
Cat. winners receive $300.
&
photo
judges
Finalist
industry.
Maine,
Rockport,
in
an increasingly
in
campus
addition to the
undis-
issues
covered screenwriters
total
atmosphere
immersion
Center
of
Angeles
Los
Greater
dance
host a
will
Van Nuys, CA, 91406, (818) 994-5977; wwwswiftPrize:
$1,500 cash plus free
registration to
2002
film/video festival that invites participation from dance
Selling to
site.com/cine vision2000
&
Hollywood Screenwriters Conference, plus script consultation
&
dinner
&
professor
fees:
$40
Deadline:
Krevolin,
USC
Screenwriting
author of Screenwriting from the Soul. Entry
members);
(ASA
Oct.
Cincinnati,
w/ Richard
OH
31.
(non-members).
ASA SFTS, Box 12860,
Contact:
45212;
$50
(866)
265-9091;
asa@
asascreenwriters.com; www.asascreenwriters.com

HOLLYWOOD SCRIPTWRITING CONTEST: To provide new

valuable outlet for recognizing & promoting quality scripts
of
undiscovered writers worldwide. Registered feature
films (no
TV dramas or sitcoms)
ent. industry.
motion picture
standard master scene format required. Must be unoptioned,

detail
btwn 90 & 130 pgs. Rules & requirement
posted on contest
Web
site.
in full
Awards: Winning script
in
Camera
mat
Festival.
or styles are
docs, shorts
email.
w/ Touring Program
conjunction
&
Works produced
after
of the
1999
in
Feb. of
Dance on
in
any
for-
welcome, however, preference given
to
experimental films. Appi. available via
Entry fee:
$15.
Deadline:
Sept.
15.
Contact:
DRC/Dance Camera West, Box 41708, Los Angeles, CA

90041; (818) 769-3093; [email protected]
To
sent to agents
&
in English;
film/video artists from LA area. Festival held
2002
&
producers. Winning synopsis published
DUTY
One screenon Internet
& marketed
to production
companies found
progressive,
nonprofit
access channel
in
in
play accepted monthly to receive rewrite notes from script
All
&
SR
genres
the Hollywood Creative Directory for one year, which

consultant. Awards: 1st place $2,000; 2nd place $1,000;
includes
all
major studios seeking new screenplays.
DV,
S-
VHS &
3rd place $500. Plus script analysis, film courses, confer-
& Webcast.
year subscription to Scr(i)pt magazine. Entry fee: $50.
ences
&
software.
Entry fee:
VHS
$55. Deadline: monthly.
Deadline: monthly (postmarked by 15th of each month).

Contact:
Columbus Screenplay Discovery Awards, 433
Camden
Dr., Ste.
600, Beverly
Hills,
Chestnut
N.
CA 90210; (310) 288-
Contact: 1605
Cahuenga
Blvd., Ste.
213, Hollywood,
90028;
(800)-SCRIPTS;
Bldg 9B,
Debbie Rudman, DUTV. 3141
Rm
4026,
Philadelphia,
PA
CA
19104;
St.,
(215)
895-2927;
[email protected];
[email protected];
www.dutv.org
www.moviewriting.com
August/Scpu-mK-r 2001
THE INDEPENDENT
51
FILMS/VIDEOS WANTED
for

tled:
SNACK-ON-ARTS.
weekly
program on Time
art
enti-
submit your work.
Artists please
max. Contact:
mins.
15
in
Box 050050,
NY
Brooklyn,
AVID On-Line Suite
INDUSTRIAL
its
Media Composer 1000 with Digital/BETA & 3/4 decks

...at prices an independent filmmaker can afford
5th year,
ous,
[daily/weekly/monthly rates available)
Phone: 212-765-6600
humor-
&
under-
dramatic, erotic,
subversive, animation
for inclusion in fall
uncensored
&
subversive
exposure
season. Controversial,
020206, Staten
Most low/no-budget projects that are
&
racism, classism, homophobia
BRAVO
made
rock
ongoing.
val.
Send
all
3D Pinnacle
Much
X
X 14'; 600 amps;
Hard Cyc/Blue Screen; Silenr A/C;
28'
check out Web

send valuables
4434 Ludlow
like
a punk
warehouses,
in
rooftops for screenings. Festivals

quarterly, so the deadlines are
press materials,
shorts (under 50 min),
Sound Stage Rentals
&
submissions considered
All
s.a.s.e. or
Mastering
Editing Studios
Avid Media Composer
other ism's join the ros-
thousands gather
West Philadelphia are
www.bravofilm.com
34'
or a rave,
backyards, basements
40 WEST 27TH STREET

2ND FLOOR
NEW YORK NY IOOOI
Transfer
show
with soul.
free from sexism,
ter of fiery peculiar films in the festival.
in
Replication
Island,
Action Films for the Anarchy. Lost
Film Collective celebrates great movies
Editing
Edmund
Contact:
area.
NY 10302; [email protected]; www.2droogies.com
LOST FILM FESTIVAL:
Encoding
Authoring
encouraged.
material
NYC
in
Varuolo, c/o 2droogies prods, Box
25 West 36th SL 11th Floor New York, N.Y. 10018
VIDEO
in
looking for experimental, narrative,
ground works
Guaranteed
Contact: Lichtenstein Creative Media
show now
is
stills
for int'l touring festi-
&
1/2" video copy.
site for appl. Entry fees:
$20
for features (over
Send
$10
for
50 min),
or
exchange. Contact: Lost Film Festival,
in
PA 19104; (215) 662-
Philadelphia,
St.,
0397; [email protected]; www.lostfilmfest.com
MICROCINEMA,
INC./
BLACKCHAIR PRODUCTIONS
&
digital
is
media submissions
of
All Editing Format Avail.

From E>V to Oigibeta
DVCam,
Roll;
BetaSP, %",
S-VHS;
ABC
native,
selected
We
tional screenings.
first-time clients.
Audio Services
non-
title,
incl.
or
animation, etc. Works
&
WA
Seattle,
venues
int'l
S-VHS (NTSC
phone number and any
length,
photos. Submissions
98121.
for addi-
preferred)
will
not be
2318 Second
Ave.,
568-
(206)
Info/details:
6051; [email protected]; www.microcinema.com
Woodland Hills , CA
for Video/Film;
OCULARIS
Sunday
212 679 9779
Fax: 212 532
exhibit their work.

Tel:
Submit VHS
name,
labeled with
erotic,
support matenals
#313-A,
ADR; Music
www.Authoringdvd.com
may
returned. Contact: Microcinema, Inc.,
Open 7 Days a Week

(818)883-0888
Artists qualify for a
online sales. Looking for short narrative, alter-
humorous, dramatic,
Production Packages

finish with substantial discounts for
We Have the Best Prices!!
&
int'l offline
incl.
0444
night screenings;
sidered for curated group shows.

online exhibitions
&
for
works longer than 15 min. conAll
work considered
Open Zone
for
4,
a quarterly open forum, also exhibits emerging, non-

Performance Space, 70 N. 6th
oAn imcition lnotoqmvhu
PARK4DTV
NY 11211;
is
Cutout Ânimation
hard-core
reality TV.
into the
inoto (Ânimation
* 2 West 47th Street Suite 1209

10036 " Tel: (212) 391-8716
Founded
program. Artists
&
is
will
&
Berlin. Contact:
1 hr.
tapes
in
Rotterdam,
New
PARK4DTV, Box 11344, 1001 GH
New York, NY
Amsterdam, Netherlands; [email protected]; www.park.nl
fit
be paid for broadcasted
seek public
THE INDEPENDENT
made
looking for tapes that
work. Organization also has programs

York
to
1991, PARK4DTV
in
has broadcast more than 1,100 different

by artist around the world
52
night.
Works vary from computer-generated abstract work

ultra
Animus Films
Brooklyn,
broadcast of a 60 min. TV art piece every
izing in
cJities
St.,
bi,
drag,
s
in
come.
Comm.
&
Incl. info
Send VHS tapes
tion.
program genres wel-
All
Dept., Florida Atlantic Univ.,
777 Glades
&
indie
submissions
script
filmmakers of
formats welcome. Film (submitted on VHS)

missions must
synopsis, bio
incl.
monthly &
screened
Films
& $10
genres
All
&
&
script sub-
(check/m.o.).
staged
scripts
seeks
color,
2nd season.
for
Topics discussed by
Filmmaking
360
in
who
applications from
& VHS,
form
16mm
3/4", Beta or
program
film
min. to 2 hrs (can be cued for a 30 min. section forjudging purposes)
you
need.
up a world
check
A Guide
To
The Independent Press can open
of diverse
&
entry fee. Performance
&
Resources
FUND
Some
circuit sites
St.,
money
#201, San
&
video projects
of
up
to
$10,000
any stage
in
1800 Gervais
Arts Center,
CALIFORNIA COUNCIL FOR THE HUMANITIES FILM &
SPEAKER GRANT: Up
non-
to
nature.
&
VHS
tape,
professional business proposal detailing the
work
to
&
plans for
a public audience within 2
to
cover costs of film
&
St., Ste.
&
Contact: CCH,
publicity.
CA 94108; (415)
601, San Francisco,
CHICAGO UNDERGROUND FILM FUND:

ing
4th year award
&
length
genre on super
8,
16mm
or
for
any
35mm. Emphasis
&
fit
CUFF's mission
in
promote films
to
5.
Contact: CUFF, 3109, N. Western Ave., Chicago,
sleonard@
734-8526;

works
seeking film
&
&
missions of short
feature length
docs,
all
actors, technicians
list-
to learn
more about composers who can be commissioned
to write
&
organizations
directo-
in
&
samples & biographical
info
MP3
can be accessed. Contact:
&
[email protected]; www.harvestworks.org
&
co-op offers free
narratives,
ry
&
artists'
video subing for
experimental
Media Center presents interactive database
Digital
in U.S., is
Harvest-
CA
Contact: 7 Fund, 7 Hillcrest Ave., Larkspur,
94939; [email protected]; www.sausali.to

media organizations
IL
Columbia, SC 29201;
St.,
fax:
arts.state.sc.us; www.state.sc.us/ arts
letter), free
use
of bulletin board.
Send
Third World
bio to:
&
Newsreel, Attn: Sherae
New
Rimpsey, 545 Eighth Ave.,
York,
NY 10018; (212)
fax:
s.a.s.e. to:
URBAN INSTITUTE FOR CONTEMPORARY ARTS, one
CONVERGENCE 2002 INTERNATIONAL ARTS
FESTIVAL:
Jim Lawter, 37 Greenwich Ave, #1-6,
947-9277;
$500
Grant funds provide support for film or video rental,
years of receiving the grant. Finalists are chosen quar-
734-8696;
director's
to
meeting
selection
terly.
VHS
www.cecip.org
CA
development
of
budget, proposed use of 7 Fund monies
&
x.22, [email protected],
scholar honorarium, travel
issues of a socially conscious
exhibiting completed
of political
Int'l
NY 10001, (212)
2002. Deadline: Jan. 15. Contact: South
April
race, class
CEC
ArtsLink,
York,
Carolina Arts Commission, Attn: Susan Leonard, Media
(803)
New
Note:
synopsis
in
Contact:
St.,
discussion program of a CCH-funded doc. film or video.
Francisco,
Applicants are required to submit a sample

held
West 31
do not have film projection capabili-
pre-screening process,
After
ben-
send
Funds
provides grant
that address
ties.
(postmarked).
to
both countries. Deadline:
in
installation
nor any works-in-progress.
not accepted,
15
312 Sutter
profit film
art
2390 Mission
to: IPA,
& Newly
Eastern Europe
of the
94110; (415) 634-4401; www.indypress.org
& $20
materials
participants or audiences
Jan
$24.95 (plus $3.05 S&H)
For just
&
Central
in
&
their counterparts
Independent States. Projects should be designed
643-1985
addition to resume, any press packet
in
27 countries
in
w/
Find an indepen-
45
of
provides support to U.S. arts professionals
film/video artists. Artists asked to submit application
Howe, Arthur Vining Davis
T.
nonprofit arts organizations to work
Partners, 12
new
St.,
travel to 6
ARTSLINK
efit
editor
now accepting
IFFCON,
to:
San Francisco, CA 94107; (415) 281-
9777; www.iff con.com
Annotations:
sites in the Southeast,
& producers
financiers
int'l
NY 11217; (718) 670-3616; ighmul
CIRCUIT, a tour of 6 artists
Jonathan
Dr.
to
site.
independent
the 21st Century." Send $46
Ritch St.,
[email protected]; www.ighmultimedia.com
SOUTHERN
Web
is
& "Now What? Independent
Perfect"
"Pitch
incl.

Ste. 139, Brooklyn,
$100,000
Foundation, 111 Riverside Ave., Ste. 130, Jacksonville,
IFFCON
quarterly.
Contact: Sheryl Ellison, IGH Multimedia, 655 Fulton
from
ranged
FL 32202; [email protected]; www.jvm.com/davis

film.
Brooklyn's original
have
grants
FILM FINANCING
Boca
Rd.,
production
Contact:
2001 INTERNATIONAL
IFFCON
CONFERENCE
[email protected]

NJ
$500,000. Proposal guidelines available on
N. America's premier financing event for
Raton, FL 33431; (561) 297-2534;
film
Mahwah,
"Creative Community," Box 545,
distribu-
to: Eric
#3186
07430; www.rockfound.org
Providence Parks Dept., Office of Cultural Affairs seeks
media/mixed-media proposals. Work
ACADEMY FILM SCHOLARS PROGRAM: Academy

& Sciences
of
looking for 2 film
is
tant
&
able to withstand public interaction.
was created
to
must be accompanied by samples
support the creation of new, innovative
&
exceed 20 slides) reviews
scholars to grant $25,000 each. Program

"stimulate
&
significant
works
will
be installed
throughout downtown area. Work must be weather-resis-
of recent
All
proposals
work (not
& resume. Requests
for
to
funding
of
of film scholarship."
Proposed projects
not to exceed
$ 2,000.
Materials not returned w/out
the largest multidisciplinary contemporary arts centers
may be
in
&
the Midwest, invites proposals for solo, group
multimedia presentations, curatorial
for books,
Contact: UICA Race
St.
Providence Parks Dept., Office of Cultural Affairs, 65
Gallery,
English. Only established scholars, writers, historians
&
Weybosset
will
Academy
short films
Wolftoob
is
New
local
be considered; grants are not available
to students. Deadline: Aug.
459-9395.
WOLFTOOB,
& music
watched by
show
York City TV
videos from
is
looking for
3000
x.
of
31 (postmarked). Contact:
&
award
16,000
pendent
new
publication
commissioned by
the Rockefeller Foundation. The report traces the history,

theoretical underpinnings, values
& methods
of
effectiveness as a response to social

cultural ties.
to
strengthen
Web
& economic
The report also
&
support the
offers
field.
the
report.
& wishes to
up
to
$45,000
will
be granted
Four
in fields of
&
radio.
Funding for projects that
year to complete
repre-
commercial performers
bring these performers to inde-
(877) 913-2278.
to devote
will
$30,000 may be made
be pro-rated. One
to
one year
to
to local
produce series
TV reporter
of
stones on
local or regional issues related to incarceration or

nity re-entry
lines
&
Porter,
provide grants to
up
to
by former inmates.
Visit
Web
commuguide-
site for
applications. Deadline: Sept. 21. Contact: Miriam
[email protected]; www.soros.org/cnme
CULTURAL FUNDING: FEDERAL OPPORTUNITIES: DeNEA
support educational series assured of airing nationally by
signed by the
PBS.
potential sources of federal support for cultural pro-
to help nonprofit arts orgs identify
its
Children's
series
are
of
particular
interest.
forces
Consideration also
will
public TV, including
computer online
be given to innovative uses of
grams,
this online resource includes listings of federal
enhance
agencies w/ history of funding art-related
& communities. Funding
descriptions of projects, links, reference tools
rarely supported.
navigating specific funding sources.
efforts, to
projects,
more
educational outreach
Rockefeller
&
ACTRA
to
up
recom-
For
site or write in for printed
Contact:
TV
ARTHUR VINING DAVIS FOUNDATIONS
in
schools
&
tips
on
copies
for
of
film,
& aims
of
commu-
development practice, emphasizing
information, visit
photography
ARTISTS (ACTRA) announces new, innovative program
DEVELOPMENT
mendations
print,
of
require less than
across Canada
weaken
awards
ALLIANCE OF CANADIAN CINEMA TV AND RADIO
creative community: the art of cultural
that
CRIME AND COMMUNITIES MEDIA FELLOWSHIP:

to five
165; www.oscars.org/foundation/filmscholars
sents over
cultural
Providence, Rl 02903; (401) 621-
caparts.org; www.caparts.org
millions, or at least thousands.
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nity
info@
Sciences; (310) 247-
that supports indigenous Canadian productions
1992;
min. to 17 min.
is
#39,
St.,
41
Sheldon Blvd. SE, Grand Rapids, Ml 49503; (616) 454fax:
15. Contact:
in
researchers
7000;
Deadline: Jan.
& must be
ed visual arts exhibitions for the 2002/2003 season.

1.
w/ proper postage.
curatprojects, electronic disks or Internet sites
Deadline: Sept.
s.a.s.e.
Foundation,
research
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is
Recent
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include
Job
THE INDEPENDENT
53
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over 100 federal programs
project examples,
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CYCLONE PRODUCTION SCREENWRITER'S PROJECT
& CATHERINE
D.
one
in
John
&
D.
&
$5,000, a possible production deal
&
presentation to various studios
Web
Applications available on
$50
Entry fees: $45,

Sept.
1 (late).
7600;
representation for
production companies.
site or
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Deadline (postmarked): Aug.
(late).
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665-7660; www.cyclone-entertainment.com
fax:
DVD-based
NEW YORK
NIZATIONS IN
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artists
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orgs
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in
nonprofit orgs
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$2,000 per
NY
Up
Deadline: ongoing.
State.
film
funds provided
State. Presentation
NY
in
TV
Experimental
to
to
Orgs must be receiving support from
project.
&
State Council on the Arts Electronic Media
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Oct.
1.
Film
Contact: Sherry
&
TV
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MEDIA GRANTS AVAILABLE TO INDIVIDUALS & ORGA-
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IL
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in
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to 3 pg letter. Contact:
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a program designed to provide writers of diverse
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the
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is
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issue
www.arts.gov/federal.html
RllCffl
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in
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a traditional class-
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(877)
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NATIONAL ASIAN AMERICAN TELECOMMUNICATIONS

ASSOCIATION MEDIA FUND awards
tion or postproduction
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impacting the way Asian Americans are perceived
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line:
of
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for Public
applicants with public TV projects
ideas
creative
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Asian American programs on public TV
visibility
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seeks
projects in produc-
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postproduction
in final
TV projects that explore
for
phase. Full-length rough cut must be submitted. Awards
America's growing diversity & reflect diverse experi-
& NAATA funds must
average $20,000
ences. The Diversity Fund
is
part of the
am
too,
"I,
needed
America"
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is
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exhausted. Be aware
NAATA Media Fund, 346
Contact:
that this call
may
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9th Street, 2nd
San
fl.,
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be the last monies
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accepted throughout
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the year until the available fund
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CA 94103;
mediafund@
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naatanet.org; www.naatanet.org
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or
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to organizations.
[email protected]; www.cpb.org/ tv/diversity/rfp
Access Grant aims
variety of projects that
DOCUCLUB
facilitates
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make
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the making of their
Access projects seek to reach those

screen
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DocuClub
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to
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its
underserved areas
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opportunities to participate
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now accepting doc

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to:
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10022; (212) 753-1326; www.docuclub.org
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artists living in
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provide short-term assistance to
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& guidelines
1100 Pennsylvania
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on
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already have secured invitation from established org to

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to
Applicants must be at least 21 yrs of age. Deadlines:
humanities to public audiences.

Aug.
to
companion
present proposed work which must be scheduled for
7,
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planning, scripting
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Grants offered for
St.,
(310) 899-5120; fax:
&
&
digital
media projects that address humanities themes. NEH
899-5121; [email protected]; www.durfee.org

also offers consultation grants to help conceive of
(21 2)-21 9-9240
FUNDING AVAILABLE:
ticipate financially in production of
low-budget indepen-
dent films. Send informal outline of project with empha-
EMAIL:
[email protected]
sis
on
script.
Filmmakers
will
be contacted via snail
mail, email, or telephone. Contact: Indies,
N.W. Apt.
#1, Washington,
D.C.
20007.
1923 35th
PI.,
projects
plan
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Projects should focus on humanities
the general public. Visit

guidelines.
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(planning grants), Feb.
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production grants). Contact: Media Programs, Division

of Public
THE INDEPENDENT
or to
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Room 426, NEH, 1100 Pennsylvania
Washington, D.C. 20506; (202) 606-8269;
NW,
Ave.,
[email protected]; www.neh.gov
AVIO EDIT SUITES
NEH SUMMER STIPENDS
work on projects that
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members
staff
Web
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scholars
al collections;
Visit
&
site or write to
Deadline: Oct.
&
&

or education-
writers working independently.
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1.
univs.; scholars
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significant contribution
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/Read
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Rm
318, NEH, 110 Pennsylvania Ave, N.W., Wahington, D.C.
20506; [email protected]; www.neh.gov/grants/onebook/fellowships.html
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OPEN CALL
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2001: The Independent Television Service

considers proposals for innovative programs of
August/Septembei 200
THE INDEPENDENT
55
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THE vOID DIGITAL VIDEO WORKSHOPS -THE OVERVIEWWORKSHOP THE FINAL CUT PRO INTENSIVE WORKSHOP
standard broadcast length for public TV twice a year for
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CAMERA, AUDIO, LIGHTING, AND INTRO TO FINAL CUT PRO
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tell
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site.
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356-8383,
x.
2),
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ujuiuj.uoidltd.com
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Feb. 15 (2002
new productions
serious
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week min.
for
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go" Rental:
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grams intended
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467-9165;
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232; [email protected]; www.itvs.org
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SCREENING ROOM -WRAP PARTIES EVENTS
1).
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economic issues,
Download appl.s & guidelines from Web
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call for
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Digital
announcing an
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Online editing. Submissions need to be
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acting
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Projects
Ste. Ill, Portland,
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first or
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ff
ft
T-1
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Feature films, docs,
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Contact: Thousand Words. 601 West 26th
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H5l
fax:
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AY
THE INDEPENDENT
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T
aivf events
www.aivf.org
of twentysomething
portrait
Timothy
"Speed" Levitch, would-be poet, social
otherwise
Unless
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AIVF
all
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ADVICE FROM THE PROS
LOT 47 FILMS
LEGAL SERIES
Thurs.,
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20,
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When: Thursday, Sept. 13, 6:30-8:30 p.m.

Cost: $20 members; $30 general public
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Free
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Legal Series continues with concerns

to
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(212)807-1400

operator on duty Tues-Fri
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BY INTERNET: WWW.aivf.org
[email protected]
60
THE INDEPENDENT
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SAG
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Lot 47
is
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posted
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packet by mail: 212/807-1400 x507.
In-Office
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18,
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Tues.,
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independent

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Post: Effects; Smithtown Creek Prods.; TX: Upstairs Media Inc.; UT: KBYU-TV; Rapid Video, LLC; VA: Bono
Film & Video; Dorst MediaWorks; Roland House, Inc.; WA: Amazon.com; Global Griot Prod.; WV: Harpers
Inkling Prods.; Jalapeno Media; Kitchen
Ferry Center Library.
umall
Nonprofit Members:
AL Sidewalk Moving Picture Fest. AR: Hot Springs Documentary Film

Inst.; AZ: U of Arizona; Scottsdale Community Coll.; CA: The Berkeley Documentary Center; Filmmakers
Alliance; Itvs; LEF Foundation; Los Angeles Film Commission; Media Fund; NAATA; Ojai Film Soc.; Reach
L.A.; San Francisco Jewish Film Fest.; U of Cal. Extension, CMIL; USC School of Cinema TV; Victory
Outreach Church; Whispered Media;
Manatee Community
DC: Corporation for Public Broadcasting;
Media Access
ID:
Project; FL:
Image Film & Video Center; HI: Aha Punana Leo; U. of Hawaii Outreach
Improvement; IL: Art Institute of Chicago/Video Data Bank; Chicago
Underground Film Fest.; Community TV Network; Little City Foundation; PBS Midwest; Rock Valley Coll.;
Roxie Media Corporation; KY: Appalshop; MA: CCTV; Coolidge Corner Theatre Foundation; Harvard Medical
School; Long Bow Group Inc.; Lowell Telecommunications Corp.; LTC Communications; Somerville
Community TV; MD: Laurel Cable Network; Native Vision Media; Ml: Ann Arbor Film Fest.;
MN: IFP/North; Intermedia Arts; Walker Arts Center; MO: Webster University Film Series; MS: Magnolia
Indie Fest.; NC: Doubletake Documentary Film Fest.; Duke University-Film and Video; NE: Great Plains
Film Festival; Nebraska Independent Film Project, Inc.; Ross Film Theater, UN/Lincoln; NM: Taos Talking
Pictures; NY: Art 21; Cinema Arts Center; CUNY TV Tech Program; Communications Society; Cornell
Cinema; Council for Positive Images, Inc.; Creative Capital Foundation; Dependable Delivery; Downtown
Community TV; Film Forum; Film Society of Lincoln Center; Globalvision, Inc.; Guggenheim Museum
SoHo; John Jay High School; Konscious, Inc.; Listen Up!; Manhattan Neighborhood Network; National
Black Programming Consortium; National Foundation for Jewish Culture; National Video Resources; New
York Film Academy; NW&D Inc.; NYU TV Center; New York Women in Film and TV; Open Society
Institute/Soros Documentary Fund; 0V0, Inc.; Paper Tiger TV; Spiral Pictures; Squeaky Wheel; Standby
Program; Stony Brook Film Fest.; Thirteen/WNET; Upstate Films, Ltd.; Women Make Movies; OH: Athens
Center for Film & Video; Cleveland Filmmakers; Greater Cincinnati & Northern Kentucky Film
Commission; Media Bridges Cincinnati; Ohio Independent Film Fest.; Ohio University/Film; Wexner
Center; OR: Communication Arts, MHCC; Northwest Film Center; PA: DUTV/Cable 54; PA Council on the
Arts; Carnegie Museum of Art; Prince Music Theater; Scribe Video Center; Temple University; University
of the Arts; WYBE Public TV 35; Rl: Flickers Arts Collaborative; SC: South Carolina Arts Commission
TN:
Nashville Independent Film Fest; TX: Southwest Alternate Media Project; Worldfest Houston
UT: Sundance Institute; VT: Kingdom County Productions; WA: Seattle Central Community College; Wl
UWM Dept. of Film; Wisconsin Film Office; Canada: Toronto Documentary Forum/Hot Docs; India
College;
in
classes & tutorials
College; GA:
Center for School
CULTIVATING
Program
[2I2] 43I-II30
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Suite
602 inSoHo
*/
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Friends Of FIVF: Wises Aristides, Bakus International, Aaron Edison, Suzanne Griffin,
Christopher Gomersall, Patricia Goudvis, Leigh Hanlon, Robert L. Hawk, Henrietta Productions, Jewish
Communal Fund, Laura Kim, Bart Lawson, Elizabeth Mane, Diane Markrow, William Payden, PKXH,
Possible Films, Rhonda Leigh Tanzman, Mark Vanbork
Oigil.il
August/Septembei
2001
Min
Arts Cnlr
THE INDEPENDENT
61
our Annual Market Mardi Gras.
AIVF CO-SPONSORS:
We
will
Meet and Greet with
also be presenting a
2ND ANNUAL
Strand Releasing. Visiting filmmakers
WOODSTOCK FILM FESTIVAL
attending the Market should be sure to

WOODSTOCK,
(SEPT. 20-23,
The Woodstock Film
NY)
stop by our library during the week, or
Festival strives to
bring world class and developing filmmakers together in
an intimate setting burst-
Our
stop by our booth and say hello!
week
activity-packed
be posted at
will
www.aivf.org
ing with seminars, workshops, concerts,
demos,
and the Woodstock
parties, galas
www.woodstockfilmfestival.com
AIVF
Nothing
Co-Sponsors:
Film, Video
Sat., Sept. 22,
details:
/Analog
Studio/Bearsville
3:00 p.m. Eutopia
Theater.
AIVF members; $15 general

Web site for details.
& Web Production
Cost:
$12
public. Visit
wear
to
1st,
7-9 p.m.
all
to
Gotham Awards
the
this year?
Fear not,
AIVF
hosts-yet
again-the
perfect
opportunity to hang
festival
with fellow filmmakRepresentatives from internet, cable and
international sales companies will discuss
AFTER EFFECTS
MOTION GRAPHICS
various opportunities for distribution and
EXPERIENCED
IN
FEATURE LENGTH
exhibition.
ANNUAL MARKET MARDI GRAS
Cost: Free to
Distribution Outlets panel discussion
Digital
AIVF'S
When: Mon., Oct.
(845) 679-4265 or visit
spirit! FFI:
without
ers
all
Market madness.
the
A great chance
AIVF members and
from across the nation!
ments served. Please
to
meet
other filmmakers
Light refresh-
RSVP
MEET & GREET

3 3
SENIOR PROGRAMMING STAFF
4-8283
AIVF CO-SPONSORS:
OFPBS&CPB
Where: venue
THE FILM SOCIETY OF LINCOLN

CENTER
TBA
When: Thurs., Sept.
27,
AIVF members may
6:30-8:30 p.m.
Context
Cost: Free to
STUQJOS
AIVF
mbrs; $10
representatives of the
"greenlighting team" from
PBS and
TBA.
48x44 with cyj#aH-*
CPB.
Guests
&
recording
Reps from PBS and
stage rentals
&
CPB meet
with cho-
their
rough
cuts,
and
in
Dirk Bogarde: Gentleman in Disguise: August 1-9
within the
on
North 12th Street Brooklyn,NY_
From
www.contextnyc.com
PBS program
THE INDEPENDENT
Sept 5
:
Sept 6-9
Tribute to Nantes Film
Sept. 24-28
AIVF CO-SPONSORS:
lineup.
AIVF AT THE IFP
Where: Angelika Film Center, NYC

For more information on the IFP Market:
Contact the Independent Feature Project
at (212)
(Sept. 14-23, Austin,
MARKET
465-8200; www.ifp.org
AIVF
will
be ever-present at the Market,
from participation on panels and representation via our information booth to
62
Irardan Cinema: Sept 10-23
Beijing to Mexico:
Festival:
TX)
Cinematexas has provided a diverse and

ever- expanding space for landmark short
films. Cinematexas is a place for contemplation and awe, a spontaneous congregation of visual cartographers! Don't miss
10
718.384.8300
August 10
CINEMATEXAS
grip packages
Williamsburg
The Future of Movies
Amir Naderi I Recent
and Independents-Welcome
Located
165
their project's possi-
(SEPT. 30-OCT. 5)
Artists
card. Walter
Center,
New York Times'
page) in private meetings with advice
bilities
production office
lighting
Sept. 28.
sen producers (see Call for Docs, prev.
tape duplication
Fri.,
rehearsal studios
jvideo editing
list-
Show
Reade Theatre:
W. 65 St. at
Broadway in NYC. FFI: Film Society box
office:
(212) 875-5600 or www.film
Lincoln
Latin Beat 2001!
When:
$5 per ticket!
Aug./Sept. programs:
PITCH TO PUBLIC TELEVISION SESSIONS
attend programs
linc.com
sound stage
1.0x24
for just
membership
general public.
Meet
ed below
days
work.
of spotlighting
Visit:
www.cinematexas.org or
(512) 471-6497 for details..
its
international
call

for
members
to discuss work,
meet other inde-
the AIVF
country. Visit
more
details.
Be sure
to
date, time,
Edison, NJ:
[email protected]
Houston, TX:
When:
Last Tuesday of the month, 6:30-8:30pm
When:
Where:
SWAMP
1519 West Main
Contact: (713) 522-8592,
[email protected]
pm
& Music, Wolf Rd.
Camoin
Contact: Mike
NE: Nebraska
(518) 489-2083,
[email protected]
of the
month, 5:30
pm
OR:
www.lincolnne.com/nonprofit/nifp,
[email protected]
Rochester, NY:
EZTV
When: Third Monday
When:
of the month, 7:30
pm
pm
of the month, 7
(404) 352-4225
First
(subject to change: call to confirm schedule)
Mark Wynns,
Wilson,
[email protected]
GA: IMAGE
Contact:
Dan
Los Angeles, CA:
140
Portland,
Street
www.upstateindependents.org
Atlanta,
Room
Ind. Film Project

Lincoln,
First
First
2821 North 4th,
When:
SWAMP
Santa Monica
Street,
AIVF D.C. SALON
x. 12,
[email protected]
How do you
TX: Austin Film
Austin,
When:
Last
Monday
Society
of the month, 7
Where: Bad Dog Comedy Theatre,

Contact:
Anne
build
sive filmmaking
pm
an interactive and cohecommunity? By creating
dynamic and informative opportunities
10 Riverside
1994,
now provides screening
South Florida:
for local
filmmakers at both the
in
[email protected]
venues
Birmingham, AL:
the Writer's Center
When:
forum includes a collaborative discussion
Goethe-Institute
First
Where: Production
Plus,
2910 Crescent Ave.,
[email protected]
that very population. The AIVF D.C. Salon,
founded
del Castillo, (512) 507-8105,
for
San Diego, CA:

in
Washington, D.C. and

in
Bethesda, MD. The
between the audience and a filmmaker/
[email protected]
www.dvdproductions.com
Tucson, AZ:
Homewood, AL
moderator. Filmmakers find the feedback
When:
invaluable. Other recent D.C. activities: a
Note:
workshop on making features on a shoestring budget and visits to high-end digital

post-production houses. Upcoming Salons:
summer but

(205) 663-3802
Boulder,
When:
CO:
First
Library,
in
independent films,
on hiatus
digital cine-
DC:
1000 Arapahoe
DC Salon
of the Artist (pictured).
(202) 554-3263
[email protected]
x. 4,
New
hotline
Salons Forming!
Cincinnati: Lori Holladay

a Cincinnati salon. If
[email protected]
is
considering starting
you would
like to partici-
pate, contact [email protected]
Charleston, SC:
Seattle:
month
Library,
6:30-8:45
pm
Heather Ayres
our Seattle salon.
It
is
you
considering re-starting
like to participate,
contact [email protected]
St.
tion with local partners.
assist enthusiastic
OH: Ohio

Dallas

[email protected]
associato
and committed members who
wish to start a salon in their own community!
Please call (212) 807-1400 x236 or e-mail
[email protected]
for information!
N.
TX: Video Association of
in
AIVF has resources
www.ohiofilms.com
Dallas,
fall.
Washington,
Cleveland,
for the
resume meetings in the
will
pendent films such as Ed Sherman's State
MA:
68 Calhoun
is
Contact: Rosarie Salerno, [email protected],
[email protected]
When:
month
of the
matography, and more screenings of inde-
Boston,
Monday
pm
acting
First
The Tucson Salon
on the Web!
Visit
is
posted
www.aivf.org
for
an

August/Septemk
200
THE INDEPENDENT
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Publication of The Foundation for Independenf Video and
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32
Live at 11
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Publication
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may be
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Inc.
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Press Index and
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Foundation
is
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in
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spent 10 months
following
news crews
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reporters beat.
JASPER
CITY LIMIT
POP ,7160
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Thomson
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IsraeLBo Mehrad, information services associates; Greg Gilpatrick, Joshua Sanchez,
web
consultants; Sridevi Palanivelu, Deanna Mclntyre. interms; AIVF/FIVF legal coun-
sel:
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I.
Freedman, Esq. Cowan, OeBaets, Abrahams
Visit
The Independent online
at:
chair), Paul Espinosa (treasurer),
Two
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AIVF/FIVF Board of Directors: Angela Alston (secretary).
Doug Block (membership
Dee Dee Halleck, Vivian Kleiman (advocacy
chair),
Jim McKay (co-chair; development chair), Robb Moss (president), Elizabeth Peters (ex
officio),
chair),
James Schamus*.
Valerie Soe (vice president), Ellen Spiro, Bart
Murder
36
in
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& Sheppard.
Weiss (co-
filmmakers
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T H-E
INDEPENDENT
October 2001
Upfront
News
MacArthur cuts off MAC

funding; PBS changes its
schedule; briefs.
Pat Aufderheide;
Peter Debruge
by
Departments
13
Opinion
Why
does anyone agree to
38
Figuring out the rules of public
be a documentary subject?
by
Legal
domain
Jonathan Stack
is
not
as easy as
most
filmmakers think.
by
14
Robert
L.
Pitching at the Toronto
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DoubleTake gets bigger;
40
Wired Blue Yonder
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filmmaker's tale of Finland.
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Notices
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Peterson
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Seigel
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Events
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Salons
63
In
64
Rushes
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Distributor
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PHOTOS COURTESY CENTERS
WHERE HAS ALL THE FUNDING GONE?

MacArthur
by
After
cuts off
Pat Aufderheide
and $15
15 years
million, the
John D. and Catherine T. MacArthur

Foundation is officially ending its support
of media arts centers.
The news
media
arts centers
changed filmmaking, and, MacArthur

media arts centers along with
it.
Now filmmakers can edit on their
computers and apply for funding from
foundations on their own.
After
believes,
MacArthur
president
vice
Wickham helped
a record of
what
tent funding has
a difference that consis-
1992, four years
made over
shifted
away
directly
and toward funding individual
In the beginning, the

tiative's
Woodward
spare the initiative in
designers,
the
time."
media center
ini-
William
late
T.
The
projects.
later,
from
the foundation
funding
belief
centers
according to
is,
Wickham's June memo, that "media
pointing for the organizations in question,
John D. MacArthur's attorney, and

the late Virgil Grillo, media consultant to
but the announcement circulated in June
the foundation, imagined an investment
attract support
did not actually
come as a surprise to
them. Even though some 110 centers
in a service that
have received funds from MacArthur, and
media production for noncommercial,

poor, and other lay people, and to encourage new independent talent. This was
is
disap-
some have been sustained from
their
beginnings by the foundation, this will not
Many
Kirby,
would provide access
during the mid-'80s,
when
to
the people's
centers will continue to find ways to
from
among themselves and

like
they are well-prepared and unlikely even
cameras were getting smaller and cheaper.
Foundation
With the help of MacArthur funding,

centers bloomed across the country, such
as New York's DCTV and Paper Tiger TV,
Film,
which
"The writing has been on the wall for

several years," says Helen De Michiel,
year
planning grant
national director of the National Asso-
rural
change
ciation of
their current fundraising plans.
Media Arts Centers. "The
deci-
course. But
now may
Houston's
Southwest Alternate Media Project, and
oi
Community Media Workshop.

Over the years, though, digital pro-
be the time to make
duction and other economic forces have
highlights the chronic problem

dependency on foundation funding,
sion
Kentucky's Appalshop,
oi
Chicago's
trying alternate
and bring
in
revenue. They've also been brainstorming
media movement was blossoming, and
to
for the pa>r five
strategies to seek funding
centers report that
be a death blow.
range of sources."
Given no other choice

years, centers have been
The
parent,
is
the
Independent Video and
for
mid-way through
MacArthur program.
Although media
have, as
with organizations
Independent's
Wickham
from
arts
a three-
separate
centers
notes hopefully
often
in hi>
announcement, "moved from strength
to
strength," center directors also say that

i!k'\
may be
Octobei
forced
2001
to
limit
their
new
THE INDEPENDENT
Si")
activities
and
erating
ones.
Workshop
cy
is
emphasize revenue-gen-
to
Community
At
in Chicago,
Film
whose constituenthe major
largely artists of color,
effect of the cutback, says executive direc-
C\J
CO
tor
Margaret Caples,
"we were
that
is
beginning to replicate the model. Will
we
found the Center

"It'll
on
left to
Rural Strategies.
for
how
but we clearly learned
and some of that
their dime,
stuff goes on."
Film Arts Foundation in San Francisco
Englewood community [an underserved

community of color in Southwest
operations funding "dramatic" a few years
Chicago]? Probably not." She adds that
funding, but
MacArthur was
next year as a result of the summer news.
At
so rare in
that,
vision of
its
"When
community-oriented pro-
Scribe, a
"We have no
Louis Massiah says,
other
choice but to re-group, scale back a
and continue the work."
ago,
bit,
youth
Scribe's
media project in particular will be

trimmed so that fewer children are
enrolled, and some may not stay the
entire 12 months. MacArthur had supcalls its
"extraordinarily important."
support
Without sup-
port for media centers, he says, "You don't
have places
field -and for
to learn.
It
new people
for
to enter the
non-university based people
pushes the indie
field further
into the commercial marketplace."
Anne Marie
utive
Foundation,
Boston
of
director
says,
at a turning point
"Media
Film/Video
arts centers are
where they have
up and become more
grants
aging
because of the prestige of the
had
a powerful lever-
foundation and because
was national.
it
MacArthur
Therefore, losing access to
money may
funding
"Only the National
possibilities.
Endowment
says
also put in jeopardy other
was
for the Arts
director Gail Silva. "It was a legitimization; that's
hard to put a dollar figure on."
Another consequence of the cutbacks,

several directors note,
is
that their centers
channel activity into
will
less risky pro-
jects
and serve fewer people. At
tor
California
received
MacArthur
tar-
geted to projects, founder Larry Daressa
revenue
we
will
has a small impact; most of our

it means
on a costwe can't dis-
earned income. But
is
make more
accounting
basis,
decisions
of course;
that don't pay for them-
Most of our African
moment."
has
money
initiative
selves.
in philanthropy generally
distribu-
which
Newsreel,
com-
and leadership
like that,"
Film Arts Foundation executive
films
visible in their
arts at this
ability,
tribute
munities. There
media
shifted to project
not adapting budgets for
is
to step
could be a stronger vision
for
when MacArthur
says, "It
Stein, until recently exec-
about $50,000 of annual
MacArthur
ported three different Scribe activities

over the years; Massiah
loss of
Several center directors also say that
they pull
duction center in Philadelphia, director
films,
for
example, don't break even."

"Fifteen years
is
a long time for a foun-
dation to stick to an agenda," says
Mimi
At 911 Media Arts Center in Seattle,

which has received project funds for youth
jus,t
projects over the last three years, execu-
haven't been able to capitalize more on
tive director
like
is
Fidelma
managing any
McGinn
says, "Just
portfolio, diversification
the key." She will encourage indepen-
dent producers to seek production grants
from MacArthur and seek further project

funding, but the
shutdown does not
affect
next year's budget or programs.
Appalshop, one of the top recipients of
MacArthur 's media

activities
state
arts
now
arts
center initiative
Pickering, a producer at Appalshop.
too bad
that
media
Wickham, overall, says, "With videomaking orders-of-magnitude less expensive than in the mid-'80s and the surviving media arts centers pretty well established with their local funders,
there's reason to
arts centers will
revenue, and a small
MacArthur contin-
think
continue to be an impor-
noncommercial media."
well,
be optimistic that media
and funding sources, including

grants,
"It's
centers
that investment to find other national
tant resource for makers
endowment. As
arts
foundations to support them as well."
has a diversified set of
grants, also
October 2001
loss,
lot
Davis, a
has just
found the
out there are very few places for us to go."
THE INDEPENDENT
be a
do a
to
who
be able to expand our program into the
independent media
Dee
operations funding," says
founder of Appalshop
and
Pat Aufderheide
a voice for
is
Professor of
Communications and Director
of the
ues to fund projects there. "As the pro-
Center for Social Media at American
gram evolved, there was no expectation of
University in Washington, D.C.
The following
memo
excerpted from the
is
on
media arts center funding sent by MacArthur

president and
vice
senior
We'll rent
program advisor
Woodward Wickham. For more information see
for $300 a
www.macarthur.org.
D. and Catherine T.
Dear Colleague:
know
write to let you
We
have made
day "saggf
CLOU TIER, O'CONNOR & ASSOCIATES
that the
PROVIDES CREWS AND EQUIPMENT TO DOMESTIC AND INTERNATIONAL BROADCASTERS
its
support of media centers....
initiative in
camera
capability,
MacArthur Foundation has ended
this
The convenience of wide screen formatting, low light

and interchangeable lenses has quickly made
the Sony DSR-500 the camera of choice for independent
digital documentaries and features. And now it can be
rented for just $300 per day. Not only will you get the camera but we will
include batteries, a power supply, tripod, and monitor. Our convenient
Union Square location makes pick up and drop off a breeze.
MacArthur
The John
you
212-505-1911
A FREE LANCE
CAMERA GROUP
decision fully
this
aware that many media centers contin-
At the same
moved from
bane
make ends meet.
ue to struggle to
time,
most centers have
strength to strength over
the past decade, deriving good support
members
from
There
and
funders.
local
reason to be optimistic,
is
think, that
media centers
continue
will
ways to attract support from a
to find
range of sources.
MacArthur's overall commitment to

independent media has not lessened.
makes
more than $6 million in
In a typical year the Foundation
grants totaling
this area.
We
continue to provide fund-
ing for independent
on
issues
documentary
importance
of
Foundation, support for the

case
grants
P.O.V.,
selected films,
number
field
We
for
to
films
the
PBS show-
outreach for
and funding
for a small
of organizations serving the
(including
AIVF and
NAM AC).
are currently exploring other
ways
CineWave/Final Cut Pro

editors Si new media production
of strengthening the field of indepen-
documentary filmmaking and

to help independent
makers in the digital media environment. Funds no longer devoted to support for media centers will provide the
dent
opportunities
Foundation with
flexibility to
support
other work in independent media.
The conclusion
of this special 15-
year initiative need not
mean
grant-making
dent
in support of
documentary
that
as
will
be
among
in
the
past
uiet,
comfortable, modern
24h
sui
indepenI
expect
media
centers
films,
graphics S. animation toolset

FilmLogic negative conform
post to film, tape, DVD, internet
DV edit stations
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the end of
MacArthur grant-making to these organizations. As the Foundation continues

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those seeking and receiv-
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Sincerely,
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646. "792. 2649 www.octanenyc.com

535 West 34th Street, NYC
October 2001
THE INDEPENDENT
Congra mlationg
to Jeff
Daniels
and Purple Rose Films

on the successful release
of their
Escanaba
in
debut
film
Da Moonlight.
Written and Directed by: Jeff Daniels
Executive Producer: Bob Brown
Music: Alto Reed

Director of Photography: Richard Brauer
Editor:
Robert Tomlinson
Original processing, dailies,
answer and release
printing by
LAB
than endangering long-running programs,
PBS FINALLY
PBS's
FORWARD
FALLS
fueling expansion
is
debuting the
Roadshow
British counterpart to Antiques
on Thursday
PBS
nights. In the spring,
A new schedule emphasizes reality

by Peter Debruge
show with National
Fall has always been routine at PBS,
PO.V, now entering
with the same shows on at the same times,
deliver four specials during the year.
launching Public Square, a public
no matter what the

For the
first
Not
year.
so anymore.
PBS
time in 25 years,
matically revising
is
dra-
contracted
has
15th season, to
its
summer
allow the
will
Public Radio.
PBS
Additionally,
600 submissions,
receives about
That
which
series,
primetime schedule
its
C&S
is
affairs
to
air
Discounted
more than
the dozen
UESDAY
NOVA
NATURE
(AFRICA
Specials,
EXXONMOBIL
MASTERS/
MASTERPIECE
THEATRE
AMERICAN
for
Cara
ules.
AMERICAN
Insurance
sched-
ly
Arts and
Pftrformance
in
Sept./Oct.)
Liability
current-
it
AIVF Members
Mertes,
executive
EXPERIENCE
producer
Reality
(LOCAL NEWS)
and
a con-
Suite
500
20 Vesey Street
PBS's new
fall
New York
schedule, photo courtesy pbs
City,NY
10007-2966
new program-
testing
strategically
after
ming options
in seven cities.
"Most broadcasters
says.
realize that
PO.V
changes, and they look at where they
pand
didn't
do
it
It's
almost curious that
we
for so long," says co-chief pro-
gram executive Jacoba Atlas.

Could this newfound concern about
what the other guys are doing affect content as well as scheduling? Not according
to Atlas. "If
ence
for
is
good,
then you have to think about the reasons," she says.
the
"One
timeslot."
of those might be
Consider
Masterpiece
Theatre, the cornerstone of PBS' Sunday-
night schedule for 30 years. Until The
no dramatic series threatened

Now, PBS hopes to
audiences by moving Masterpiece
Sopranos,
its
loyal viewership.
retrieve
Monday
When PBS first
Theatre to
tion of
built
its
nights at 9 p.m.
schedule, the ideal prototype
upon the best shows
repertoire.
"We were
limited series,
mentaries
in the current
looking for more
more observational docu-
that
engage people,"
really
Atlas says. So shows like Frontline and The
American Experience
will
be appearing in
new, more accessible timeslots this
American Masters
will
fill
in for
fall.
American
into
a
Amber, one of the Chicago
weekly
teens spotlighted
feature.The
first
Girls,
Finitzo's
special,
which
airs
in
Maria
Girls.
on October
the challenges five young
about
2, is
women
face
growing up in Chicago.
PO.V's real-world roots seem especially
attractive these days with the expand-
ing intetest in prefabricated "reality
TV"
Just don't tune in expecting to catch
new
high- concept sensationalism
on PBS
series or
or Life
about as close as
Mertes thinks
it
any
on the
in general. Frontier
360 (formerly known
Bold) are
House
as Life in
you'll
get.
only stands to reason
that America's growing appetite .for truelife
considered an evolu-
ex-
will
full-year
you see a diminishing audi-
something that you know
eventually
people's tastes change, the competition
could do better.
Fax:212-406-7588
hopes that
dent,
800-257-0883
212-406-4499
The Indepen-
to
This year's changes are only natural,
PBS
Tel:
tributing editor
programming
eventually bring
will
genuinely curious audiences around to

the real thing: documentaries.
"Within the mainstream culture, people are realizing the real breadth of storytelling that
can happen
in
documentary,
coming to it more," she says.

"People want to see stories about people
so they're
they can relate to or cultures thai they

don't
know
about."
For more information see www.pbs.org.
Experience from October to December, for

its first
time as a weekly
series.
And
rather
Peter
Debruge
is
a writer
in
New
York.
Octobei
2001
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HBO
the
yet to
family
with a
While not quite
theatrical run.
the
slots
not part of
that's
senior program execu-
New TV
Leads, Mass.
"We want to move it

more toward being an interactive forum,
for it to be more fluid."
She adds, "We're having discussions
about traveling it and expanding it in that
Commissioner Gloria
Tristani told
way. Mostly, we're really trying to nurture
her keynote, "With
audiences by giving them the opportunity
tive Lisa Heller says,
effort to save the mill;
HAVING A 'THINK' AT IFFCON
show
Instead of a three-day confab for

selected filmmakers to talk to the industry
money
with
folks
to
them,
help
the
and J.M. Rustein's
for hearing-impaired
Rainbow, produced at
FCC
access managers
in
kids,
Caitlin's
PEG
Independent Film Financing Conference
consolidation of the media,
(IFFCON)
educational, governmental] access
will
hold a "think tank" meet-
topic of discussion, according to
IFFCON
tor
co-founder and executive direc-
Wendy
Braitman,
next thing that
will
be to "find the
help filmmakers get
will
made." The decision came in
their films
when IFFCON's champion
early August,
San Francisco's city government lost

his election and his successor cut off the
in
grant.
group's
money was
is
But Braitman says that
been
just the last straw. She's
thinking for some time that
IFFCON
was
out of touch with filmmakers' needs in
and she decided
today's marketplace,
was better to take time
off to think
it
with
negotiating
companies and
cable
[www.hbo.com]
localities,
she said, managers should
sake of rolling forward. Send ideas
no
dent
film
with filmmakers and
concentration of media
outreach programs
ownership, and
make
sure
that their centers, a point
jy |p#
of entry for novice inde-
pendent video and

makers,
get
capacity,
accurate
guide
listings,
Southern Comfort
film-
and
program
electronic
their fair share of digital
Pat Aufderheide
Fine Line Features
from an October release
2002,
all
Fine Line films were
being shelved until next year, was there
anything else to do but wonder whether
Programmers)
AOL
Washington,
D.C.
in
cost-cutting was in action?
Fine
June drew public, educational, and gov-
Line spokesperson says that there were
ernmental access managers from
"corporate reasons" for the
away
as
Hawaii and
as far
as close as next door,
representing a field
that
now
includes
more than 1,500 access centers nationwide.
The event both
celebrated a past of
community engagement and planned
for
the awards for the best in 25
years of programming were
Network TV's
mothers, Teen
regular
Moms
at Salisbury,
earlier
Chicago Access
program
for
Mill,
Twilley's
made
at
Maryland with tape from an
and used
going
dire
The
on.
spokesperson elaborated that the moves
were coincidental, and
that, in fact, only
two films: Storytelling and

Werner Herzog's Invincible. Fine Line
involved
ers in
new
2002, as well as continue to look for
acquisitions.
Academy- Award-winning
Arms of Strangers, and stu-
dents will be on hand to try
from How's Your News?
reporters
with the screening of their

will
his-
as part of a successful
fourth year,
ti
if;
HBO
umentary
series
Frame by Frame
Screening
Room
in
be more than
will
film.
And
there
be various discussions surrounding
Marc Levin and

Daphne Pinkerson's Soldiers in the Army of
God and Kate Davis' Southern Comfort.
The biggest benefit for documentary
screenings of films like
makers, Heller says, might
having the experience

films in a
New
audience.
"For
dream," she
York theater
some
be just
still
showing
of
for a
that's
their
paying
life-long
says.
ERRATA
the
In
August/September 2001 issue,

name was misspelled on p.
and the
just a
New
York
showcase
is
at
se ries
misidentitied
I
in its
out (the film
it
HBO in December). John Pierson,
on
Stone, and the developmentally disabled
3;
EXPANDED HOUSE RUN

Now
Mark Jonathan
study guide at the
Sheila Nevins'
Historic
Access 26
program about an endangered
toric site,
nothing
but that
teen
Only, produced by Dr.
Renee Dolezal; Creig

Double Mills Grist
there's
shift,
new
screening of his
plans to release these two and several oth-
a high-tech future.
Among
Harris will debut a
to
the National Federation of Local Cable

in
For instance, director
sponsor a musical event in conjunction
and then Indiewire.com
announced that
co- spon-
is
South Park creators Trey Parker and Matt
announced it
was moving Todd Solondz's new film,
wintet
The 25th anniversary conference of

the Alliance for Community Media (once
get a shot at an
film Into the
YOU'VE GOT CUTBACKS

When
(AIVF
soring the program)
airs
Storytelling,
ACCESS CENTERS UNITE
will
most of them
for
Oscar thanks to Frame by Frame.
interactive
bandwidth. See www.acm.org.
on the
to www.iffcon.com.
offer talks
concerns about
play to
about
than the future of indepen-
less
and
films,
will
about 22
spotlight
things than to just roll forward for the
topic
and engage in dialogue."

So over two weeks, starting October
12, Frame by Frame
to screen films
more
important than ever." In
ing in January 2002.
The
[public,
Docthe
trying to
for the cable
lave
\I\
It."
Abo
Khmer
fied as
issue,
on
America
p.
M,
in that piece,
was
'ndercovei
Gotta
the photo lor
lean should have been identi-
from Cambodia.
the
in "Sheila's
name
oi
In the Jul)
2001
opinion piece writer
Albert Gabriel Nigrin was misspelled.
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legal efforts. It was not as

fame he garnered from my
Subject to Approval
haps in spite of
a result of the
films,
Given the often demeaning
There are so many pitfalls to being in a documentary,

why does anyone say yes/
mediocre
Jonathan Stack
by
at best
anyone says
surprising
it's
to being the subject of a
all
and
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at
stream media,
yes at
but per-
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mentary. But these days
not
it's
docu-
difficult to
convince most anyone to participate,

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He
a subject in our docu-
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getting increasingly hard to
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How
also less noble results.
copies promised to
when
and never sent? Or how often do
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character who would take us
trust of a
and the audience on
journey to an oth-
erwise forbidden world.
Revealing simple truths about un-
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come
across
on screen?
being overexposed.
souls,
agree to put their faces,
and thoughts on screen,
moment
it's
not just
in their lives, but a profoundly
intimate experience that can have

altering consequences.
and
tell
trust
your
In
it
life-
Given the courage
takes to allow a stranger to
story,
it's
also a leap of faith.
extreme cases
a film
can dramatical-
on camera angles he'd
hints
last crew.
believe storytelling has a healing eleIf
done
you can maintain the
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and encourage
them
and most com-
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That doesn't mean that we should
would hurt
about.
With
teller
should treat the relationship with
his or
her characters as a sacred
He had
chances of getting out of
his
While hundreds
of fellow inmates had come and gone
jail.
good
point.
unremarkable
unremarkable time he
had transformed himself from inmate
to a
In
the
end,
it
was
his
that
worked against him.
Pardon decisions, always

are normally
with
little
done
media
have happened
a political risk,
in the
dark of night
fanfare. This could
never
in Wilbert's case,
as
he
had become way too well-known. So
many
most rehabilitated prisoner
getting out of
became
women
that he has the
because of
in
prisoner of politics.
his
new hope
and
his
to be the
about people we care
films
all that's
good
at stake, a
Would Wilbert have been

avoiding media exposure?
that question.
the
notoriety
achieved through his personal excellence
and courage
make
inmates
nationally-recognized journalist.
Wilbert Rideau, labeled by
jail, or one of the young

Shadows of Doubt writing an
autobiography and thus becoming, literal-
about an endangered butterfly had some
only
as
in
Mexico
in
pelling.
ly affect its
subject's life for the good, such

Ashanti Witherspoon from The Farm
was
was interviewing
Wilbert decided that the added exposure
inmates serving
who
working on Final Judgement to The Farm,
this is all part of what

makes documentary filmmaking such an
adrenaline rush. Yet, for Wilbert and all
of those
the person
ment.
When we moved from
since his arrival in 1961
fit
There's also the danger for subjects of
view, living vicariously through extreme
experiences
And when
recently,
picked up from the
just didn't
filmmaker's dream
project.
to be later cut out because they didn't
Farm. He's also an award-winning jourright. In short, he's a
on Las Vegas, one of our characters

he had a scheduling conflict with
another production crew. That frustration
was compounded by the fact that this
told us
helpful
in the story, didn't say the right thing, or
own
Discovery Channel
series
people get convinced to participate only
mentary Final Judgement: The Execution of

Antonio ]ames, and then a partner in The
nalist in his
was working on
other crew was also from the Discovery
people write letters to offer kind words.
There are
fame
you get 15 seconds);
if
find undiscovered talent. Recently,
Just a few months back there was that
is
define our-
who
worst
human
There
anonymity.
choose to be
all:
and
suffer
complete
do know that we
all
men and women who

our
in
answer
many other
also don't get out
of
trust.
better off
can't
are too
sentence
benefit from the
come
story-
to believe that
edge them. Perhaps
films.
it's
even have
time to acknowl-
at the
next documen-
tary film festival there will be
an award
tor
Documentary Film,
Most Courageous.
the Best Subject in a

or perhaps, merely,
America,
The
fact
o\ a retrial
lawyer's
is
tireless
Jonathan Stack
is
the director oj the
The Farm and
winning film
ing Justifiable
lomicide,
>i
is
current!}
feature
about police brutality
Octobei
2001
award/'
documentary
in the
Bronx.
THE INDEPENDENT
13
""""
'*'
/."'IT-j'-î'j-
>t
liHMlSi
of the process, the
The Documentary Quarter Finals
The
holds pitching
object, as stressed in the materials
by the organizers and modera-
as well as
Toronto's spring was busy for sports and filmmakers
tors, is
Paul Power
by
TDF
workshops two days prior to the forum.
not to secure
while you
sit
all
of your financing
at the table.
This
may sound
demoralizing after the expense and prepa-
The Toronto Raptors and the Maple

Canada was
Leafs aside, in early May,
proving
itself
hardy in the documentary
arena as well. In the shadow of final-four
second Toronto Documentary
fever, the
Forum, part of Hot Docs: the Canadian
Documentary
International
Festival,
proved to he yet another example of the
and
strength
initiative
of those
other
nonetheless paid the $300 application

fee,
that's in contrast to the
$500 that
ration that
ting to
many producers
put into get-
Toronto and pitching. But getting
participants paid, to attend the event)
funders sufficiently enthused about a pro-
and had
ject for
just a couple of
hours to prepare
The
pitching process itself
straightforward:
minutes.
The
is
fairly
have
is
meeting with
to request a
a look at
the goal.
whatever material you
And
it
seems worth
it:
15
Forum
director Michaelle
seven minutes consists
vey of
last year's projects indicates that
Each producer
first
them
you and
their formal pitches.
of the pitch itself and a brief
gets
clip,
while
more than
McLean's
sur-
half received financing directly
North Americans.
The Documentary
Forum
a recent addi-
tion to the 8-year-old
is
and
directly
based on the Amster-
dam Forum, an annual
8
o
event
festival,
is
that
highly
is
A prisoner awaits her fate

doc-in-progress Waxter
in Liz
Garbus'
Girls.
regarded for matching
up producer and directeams to pitch pro-
tor
group
jects to a select
commissioning
edi-
broadcasters,
buy-
and funders.
To get into
the
of
tors,
ers,
forum,
25%
approximately
of the
project's
must be secured and a primary

hinder must sit at the
budget
table with the produc-
and introduce the
er
project
personal
security for the project

to
er
accompany the papcommitment. This
year
were
there
David Van Taylor and Brad Lichtenstein

went back to 1971 for the Attica uprising in Ghosts of Attica.
119
submissions, an increase
of
the
over
36
available.
also
last year, for
pitch
two
card
wild
spots, called
Hat
places
There were
Mountie's
sessions,
were offered
which
to
the
producers whose business cards were selected from a hat each
the remaining eight
These producers were accredited

observers at the forum (observers are
and funders
day.
mainly unsuccessful applicants
14
THE INDEPENDENT
who have
October 2001
to
is
for broadcasters
ask specific
questions
about the concept, intended audience,

visual style,
and
access. For those unsure
as a result of their pitching at the
Overall,
TDF.
personal docs were out oi
were "survey documen-
vogue
this year, as
taries"
comparative experiences of
indi-
number of differ-
viduals, or systems in a
gay ghetto in the world."

a
ent countries.
The
project had
high considering that almost
Here are some of the
interviews take place in one
pitches:
When
Garbus' Waxter
Liz
minute project
set in a
offenders,
was
After the
pitching.
Garbus launched
introductions,
The
"We had
she spent filming in the institution, the

access
she'd
record
as
acclaimed
came
offers
Both
directions.
another
of
The
documentary,
prison
The
Farm.
and her track
obtained,
co-director
BBC
flying
from
all
and Channel 4
were interested in seeing whatever other
she had shot

a producer's
dream response, since involvement of
material
either of these broadcasters in a project
an instant door-opener
funding
and
one-hour
eight others requested her

(8mm, 16mm & 35mm)

recounts the departure in 1965
It
of the
entire
Video Equipment
all
the hallmarks of a Hollywood dramatic

feature.
Herman
Kerry
pitched Vietnam Symphony, which has
Hanoi National Conser-
vatory of Music as U.S. bombers destroyed

the
city.
The
20 East 49th
conservatory's 800 students
teachers
plus
Vietnamese
relocated
the
in
countryside,
North
Tel
Flooi
10017
(212) 688-5110
Fax: (212) 688-5405
an
building
2nd
St,
New York, NY
underground campus that operated and
CALL TOLL FREE:
thrived until the end of the war.
is
additional
for

(PAL DV to 35mm)
asked
lunch."
Zubrycki and
Cut Pro Editing
AVID Editing
Sales
Tom
their
Garbus then recounted the year
stories.
Final
Barker sat
When
to $460,000.
& NTSC
DVD Video Authoring
what was the reason behind the
footage intro-
and outlined the kernel of each of
Adam
4's
near-halving of the budget, Barker replied
main characters
project's four
prison.
by Film Transit International president
starkly,
duced the
Utah
Jan Rofekamp, one of the session's moderators,
over a rap soundtrack.
of the
he declared that the budget had
been reduced
straight into the clip, a
fast-paced, well-cut, three-minute piece
all
with Friedman and introduced the
project,
a case study in preparation, presentation,
and
down
Channel
Maryland prison
women
for serious juvenile
60-
Girls,
PAL
$836,570 budget, which was remarkably
Canadians Barbara Barde and Matt

Gallagher pitched what was perhaps the
most controversial of the
projects, Tyler's
(800)
922-4PAL
http: / / www.analogdigitalinc.com
reel of additional material.

Barrel, chronicling the obsessive efforts of
Lumiere Productions' team of Brad

Lichtenstein
David Van Taylor
and
pitched Ghosts of Attica, a timely revisit-
in a barrel.
ing of the
ers
1971 Attica prison siege in
which 29 inmates and 10 guards
many
by "friendly
killed
troopers
who stormed
fire"
died,
from state
the prison [see pg.
The consciences
creaked into action
They questioned
tive project.
over the two days. Fraser, acknowledging
from the project both
that the presence of veteran

tarian
Van
Taylor
his interest,
fired
project spurred
Christophe Jorg from
an anti-American salvo, jok-
ing that as prison docs are
genre,
someone
now
a sub-
in the U.S. should start
The Prison Channel.
he performed
as
subject,
a life-threatening stunt.
Fraser was
and was keen
most vocal on
this
to distance himself
for this
reason and
the fact that Tyler Canning had, he said,

"all
the personality of a lead nail."
The success of the forum
Friedman, co-director with
Brad Epstein of The Celluloid Closet and

Paragraph 175, was pitching another codirected project entitled Hooked Up.
The
filmmakers plan to examine the complex
is
that for
two days, broadcasters and buyers actual-
do nothing
ly
else
but
and
sit
listen to
that
between men
exist
in
sexual
relations
in the U.S. prison system, a
system the filmmakers term "the
largest
APRIL 12th
A celebration of the art ol
work
challenge for 2002
Awards
is
venue that helps
to find
an appropri-
facilitate
meetings
of
provided
than
ideal
those
for
is
the
is 1
December 2001. Works-in-progress welcome
final print will
site for entry
Web
Site:
E-mail:
former managing editor
TIu- Independent.
Documentary.
be ready by
1 April 2002.
form or contact us by phone or
See web
fax.
all-important
schmoozing opportunities.
Paul Power
2002
cinema showcasing the best
for Best Narrative Feature. Best
entries
less
18th.
Best Short plus the Audience Choice Award. Deadline for
while this year's participants got the most
out of their sessions, the location was
exceptional filmmakers from around the world.
outside of the formal sessions. Because
emotional, physical, and social relationships
FESTIVAL
filmmakers pitch their projects. McLean's
ate
Jeffrey
the ethics of
noted that "'70s pieces do
really well," while
Arte
on the
documen-
they almost
as
filming the documentary's central subject
The BBC's
for
CALL
FOR
ENTRIES
Falls
of broadcast-
roundly decried the potentially exploita-
more on Van Taylor]. "I want it,"

BBC's Nick Fraser, in as bald a
declaration of intent as was in evidence
32
said the
become the
19-year-old Ontarian to
youngest person to go over Niagara
'.heck
out his
of
bermudafilmfest.com
[email protected]
Tel: [441)
293-3456-
Fax: (441]
293-7769
new
Eager audiences, pink beaches and major parties -join us!
project
itt
www.docsinprogress.com.
October 2001
THE INDEPENDENT
15
-sj+J. Ziiljlj
.
^.fy
Vi'iTf
There a Doc
Is
DoubleTake has plenty
in
the House?
in
its
fourth year
By Claire Cusick
The theme for the 2001 DoubleTake

Documentary Film
Forward," but
been "Get
Now
in
NONLINEAR /LINEAR
OFF LINE /ON LINE
BETA SP, DV EDITING
CD-ROM OUTPUT
could also could have
it
its
fourth year, the festival conin every way: films, spon-
awards,
and
sors,
screenings,
New
York Times film writer A.O. Scott
called
it
"the largest festival of
North America." This

100 films
up
year,
eligible
for
the
EMAIL:
[email protected]
16
THE INDEPENDENT
October 2001
in
May
1926 theater in down-
festival's
competition,
who list of the

most recent documentaries. The films
ranged from Academy Award nominees
like
de Lambier's Avante de
Leaving)
to a who's
Tracy Serentean's Big
Mama
to the
American premiere of Marc Levin's and

Daphne Pinkerson's Soldiers in the Army of
Partir
(Before
about the residents of a French
Jem Cohen and
Peter
Benjamin Smoke, about rock musi-
Sillen's
cian Robert Dickerson. Stephen Ives' The
Amato Opera, about the New York
City
brownstone landmark, won the audience

award.
Festival director
more than
town Durham. Attendance was up, even

over last year's 35% bump.
About half of the films screened were
which amounted
(21 2)-21 9-9240
kind in
its
were screened over four days
EXCELLENT RATES
EXPERIENCED EDITORS
prestige.
from 80 in prior years
inside a restored
God. The jury award was shared by Marie
nursing home, and
Bigger."
grow
tinues to
was "Fast
Festival
most
Nancy
telling factoid,
Buirski says the
however,
is
that this
year the festival got more than 500 submissions.
"It
really,
really
is
gratifying
because we wanted to appeal to filmmakers
on many
levels," she says.
Kate Hurowitz, a
the Margaret
in
New
above
all:
all
& Video Festival
the films and discussions
roof,
with the hotel right next
fronted by an outdoor plaza for
meeting and eating.

tained
festival assistant at
Film
York, praises the festival's layout
under one
door,
Mead
it is,"
"I like
how
self-con-
she says. She was particular-
how
interested in
ly
organizers handled
post-screening discussions with the film-
One problem
makers.
unique to DoubleTake, was when two
or
more
one
after
came up
after
shorts were screened
the other.
When
(swete) studios
she notes, not at
all
the lights
DIGITAL FILMMAKING FOR 35mm, 16MM & DV
the second film, she says, the questions
PRODUCTION CONSULTATION
UNCOMPRESSED ONLINE & COLOR CORRECTION
EDIT SUITES
would be invariably
aimed
ond
person
at the
who made
the
Or
film.
the
-
questions were often
lumped
all
together,
W.
disrupting the flow of
discussion
the
either
Although the
is
attached
Duke
WWW.SWETESTUDiaS.CaM
Center
its
attendees
Studies,
don't think
has an
it
institutional
feel
"It isn't this
FILM INDUSTRY SEMINARS
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:
every festival," says
Hugo
Perez,
New
York-based filmmaker
who produced The

on PBS.
more bure-
Writer series
"Some are
more of
aucratic and there's
HBO documentary division executive

Greg Rhem says the growth at
DoubleTake mirrors the growth of the
art form. "Documentaries are some of
the more innovative films out there
Rhem
He
says.
also
praises
-LEARN VISUALIZATION ON THE PAGEFOCUS YOUR WRITING SKILLS TO

FULLY EXPRESS YOUR VISUAL STORY
INTENTIONS, AND GREATLY ENHANCE
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the festival will be able to sustain
it
continues to grow.
of this surprises Buirski.
"I
it
as
think
that documentaries over the last 5 to 10

years are having a
new
heyday," she says.
"Our growth is twofold: The documentary

community is paying attention to us, but
it's
also the general public that's saying,
'This
is
For
worth paying attention
more
information
to.'"
is
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and empowering participants!" CiseU'omi \
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Claire Cusick
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SAN FRANCISCO CLEVELAND
DoubleTake's "intimacy," but wondered

if
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THE INDEPENDENT
17

TfTf
the Dark
In
in
the Midnight Sun
documentary
Helsinki's unique
festival
By Dempsey rice
was not my usual
It
May,
in Helsinki.
and
president of the
was 9
It
Finnish Doc-
umentary Guild
were dim, the
p.m., the lights
walls
Kai Nordberg,
found myself standing
pub
in a
film
experience. In early
festival
ceiling paneled in
dark wood. Most people were

drunk.
fairly
Amazingly,
Below from
UP
left:
Lisa Gossels,
it
Gary Pollard,
was
very light outside
still
Finland was
on its way to
"Midnight
fast
summer's
the
Sun." Inside,
the
see
Albert Maysles
and Rice
PHOTOS COURTESY
AUTHOR
could barely
television
large
through the haze of cigarette
smoke hanging in the air. Just

one thing was clear: The peoaround
ple pressed
me
with
blue and white flags painted
on
their
One...
and the
couldn't
faces
point...
final...
men
fell
women hugged
and
rip
from the screen.
their eyes
to the floor,
each other,
tears of grief
people's faces.
had
hosted films from
began streaming down

just
witnessed the
Finnish team's loss to the Czech Republic
World Cup Final. From

could see, the whole country was
in ice hockey's
St. Petersburg, Russia.
of documentary filmmakers.
He
present-
This year they looked west and pro-
ed two of his best- known works: Salesman
grammed "Uptown-Downtown: Docu-
and Grey Gardens.
mentaries from
New
New York,"
in association
He
also held court in a
Master Class that drew the
crowd
largest
DocuClub [www.docuclub.org] and The New York Documentary Center [www .docfest.org], best
known for producing docfest, The New
York International Documentary Festival.
The American documentary film com-
of the festival and enchanted Finnish
documentary about my mothsuicide when I was 18 years old and
munity was represented by four filmmak-
nity of
the paths which survivors of suicide trav-
hosted by over a dozen filmmakers in a
what
devastated.
I
to
show my
talk
documentary
film,
Daughter of Suicide, which
and
film,
to
is
a personal
er's
el as
they heal.
into the pain of
that
pub
My
film
my
family history, but in
is
about looking
had the opportunity
to look
into the eyes of Finns in devastating pain.
This festival
Kiasma,
York's
was in Finland to watch documentary
film,
with
is
the second annual at
Museum
Finland's
temporary Art.
It
is
of
Con-
sponsored by the
Documentary Guild [www.dokumenttikilta.fi] and funded by YLE TV1

and TV2 (Finnish Public Television), the
Finnish
ers
from
a city of 10 million,
country of 5 million for

lectual
and
artistic
and were
five days
of intel-
where
exchange
European and American
docu-
styles of
mentary were debated and new friendships born. Screenings
and panel discus-
sions provided us the framework,
Finnish
hosts
Arto
and our
Halonen,
the
Director of the Festival, Kai Nordberg,

the President of
The Documentary
squired
Guild,
documentary students, filmmakers, and

professionals. Lisa Gossels showed her
powerful
documentary,
Children
of
Chabannes and represented DocuClub,

their programs,
and the
helped to establish in
with
grassroots
commu-
documentary filmmakers they have
my
New
film as part of the
DocuClub, which
York.
went
program from
also included screenings
Jeremy Spear's Fastpitch, Michael

Camerini and Shari Robertson's Well
of
Founded Fear, and Arlene Donnelly's

Naked States.
Gary Pollard, the founder of The New
York Documentary Center,
presented
Bennett Miller's The Cruise, Nanette

Burstein
On
and Brett Morgen's
The
City of Helsinki's Cultural Department,
the city of Helsinki, showing us the sights,
Nina Davenport's Always a

Bridesmaid, Alan Berliner's The Sweetest
Committee and
feeding us great food, and inviting us into
Sound, and Pollard's
the Finnish State Film
the
Embassy of the United States
Helsinki,
among
Last year,
18
in
others.
their
their colleagues
us around
homes.
October 2001
ema, represented
Ropes,
own
film,
Going Up.
Pollard also talked about docfest
Albert Maysles, a pioneer of direct cin-
the guild looked east and
THE INDEPENDENT
and
New
York's "old garde"
new programs
that
Documentary Center
and the
The New York

is
establishing
in
New
York. In addition to these contem-
porary works, the Finnish Documentary
(swete) studios
Guild presented a retrospective of classic
documentary
Barbara
including
films
USA
Harlan County
Kopple's
and
Ira
DIGITAL
Wohl's Best Boy.
my
Despite
hockey World Cup,
reserved than Americans.

prised, but
quickly realized that
much more
Finns are
the
EDIT YOUR REEL - MAKE CHANGES WHENEVER YOU WANT

ALWAYS UP TO DATE WITH YOUR MDST RECENT MATERIAL
CREATE SPECIAL REELS TAILORED TO THE JOB
experience during the ice
emotionally
DEMO REEL SERVICE
wasn't sur-
was curious to see and hear
PACKAGING, LABELING, SHIPPING
to Daughter of Suicides
AFFORDABLE RATES
their reactions
personal nature and the emotional tur-
moil of losing someone to suicide that
it
W.
4TH
ST,
SAME DAY/OVERNIGHT
WWW.SWETESTUDinS.CDM
NYC
646-336-14DD
clearly represents. American audiences
own
often react by sharing their
experi-
ences; the Finns didn't. But during the
question and answer session
could feel
the depth of the emotional energy in the
screening room. In a country that has one

of the highest suicide rates in the world,
they connected to Daughter of Suicide and

it
spoke to them.
Q&A
The
how
asking
started slowly with people
made
the film and about
deeper
how
making
did
How
As
was
about
a film
me
mother's suicide help
became more
them
to
grow
NBPC
spoke
as they realized that
they found hard
respect for
felt their
I
moment,
In that
Request
for Proposals
non-profit national media arts organization dedicated to the funding,
(RFP),
NBPC
seeks contemporary films
about the Black experience for the National PBS Schedule.

Applications and guidelines are available on NBPC's website www.nbpc.tv
life.
for
Through our annual Request For Proposals
or by calling 212/828-7588 cxt 222. All proposals must be received at the
realized that the fes-
was a succes not only
tival
me
is
was doing what
my
Solicitation
promotion, presentation and distribution of quality Black film and video projects.
speaking about some of
the most intimate events in
PROPOSAL
Black Programming Consortium presents the
2002 Open
openly about emotions and about depression and suicide.
for
was an
woman who
The National
personal,
the audience's gaze intensified.

oddity
REQUEST
my
me?
now?
or change
dealing with her suicide
the questions
its
went
reception. Gradually, the questions
NBPC
office
by close of business (5pm) on Oct
.3
2001
me, but
and Lisa, the Finnish

Documentary Guild, the audience, and
also for Al, Gary,
comed
New
from
the films
in Finland,
and our
stood and even enjoyed
home
We
York.
Major funding
for
RFP 2002 provided by
Corporation
ill
for Public Broadcasting
year,
found
375
.Trailers
Guild
will
annual
group
spring
look to France for their third
will will
to
Then
February.
in
festival
come
to
participate
New
in
^Features
the
York in the
presentation
Documentaries
Television
top
Dempsey Rice
filmmaker based
currently working on a
new
telling called, Tell
more
al
in
is
a documentary
New
York.
She
is
film about story-
Me
a Story.
Learn
wwuulaughterone.net.
www.islandmedia.tv
post at the tribeca film center
called
EDITORIAL
SOUND
/
'
encoding
"CLû
h o
AVID offline/online
77, uncompress
Flame /3d Ix'animatio
AVR
DESIGN,EDIT,MIX
\
st
%' ois ^'
"Northern Exposure: Finnish

Documentary Films in New York."
greenwich
new york.ny 10013

JO 2
Documentary
the Finnish
(CPB)
films under-
they
in Finland.
Next
the
III
were wel-
Protools sound; 5.1 surroun

picture/M&E/VO/ADR subt
to
n g
Occobei
2001
THE INDEPENDENT
19
PEW FELLOWSHIPS IN THE ARTS

200
AWARDS
1
Tanya Maria Barrientos

FICTION
AND CREATIVE NONFICTION
Yane Calovski
WORKS ON PAPER
Justin Cronin
FICTION
AND CREATIVE NONFICTION
Vincent David Feldman

WORKS ON PAPER
William Larson
MEDIA ARTS
Enid Mark
WORKS ON PAPER
Gabriel Martinez
WORKS ON PAPER
Maria
T.
Rodriguez
MEDIA ARTS
Laurence Salzmann
WORKS ON PAPER
William Smith
WORKS ON PAPER
Ron
Tarver
WORKS ON PAPER
Shanti Thakur
MEDIA ARTS
200
FICTION
PANELISTS
and creative NONFICTION: Andrea
Barrett, Paul Lisicky,
Kyoko Mori
MEDIA ARTS: Tina DiFeliciantonio, Stephen Gong, John Hanhardt
WORKS ON
PAPER: Laura Hoptman, Robert Rainwater, Deborah Willis-Kennedy
interdisciplinary: Jock Reynolds, Panel Chair
Amada
Cruz, Stephen Gong, Paul Lisicky, Francine Prose, Robert Rainwater,
B.Ruby Rich
Established by The Pew Charitable Trusts in 1991, the Pew Fellowships in the Arts awards grants of $50,000
to Philadelphia area artists. Awards are made in twelve different discipline categories, which rotate on a
four-year cycle. fellowship selections are made through a two-tier review process. applications are first reviewed
by discipline-specific panels,
in 200i, awards
were made
who
select finalists to be reviewed by a final interdisciplinary panel.
in fiction
and creative nonfiction, media
arts,
and works on
WWW.PEWARTS.ORG
Funded by The Pew Charitable
Trusts
Administered by The University of the Arts
paper.
TELEVISION
American Masters (PBS, Oct. and Nov.,
check
local
PBS
Masters kicks off
its
time, starting with
Macauley
Peterson
C.S.
The
listings)
award-winning
The Endurance: Shackleton's Legendary

Antarctic Expedition (Cowboy Booking,
household name. But
the
medium with
series
On
the Air
his
next foray into
the inconsistent
fell
short.
comedy
Then came
his
American
16th season in prime
Goldwyn
(Oct.,
check
local listings), the first-ever filmed bio of
Samuel Goldwyn. The
THEATRICAL
long-running,
series,
with
F.
Scott
(PBS, Oct., check local

Fitzgerald:
series
Something
to
continues
Winter Dreams
Fitzgerald:
listings)
and
Ella
Live For.
Sep. 21) Sir Ernest Shackleton's expedition to Antarctica in 1914
most
ry's
one of histo-
and most
more
Richard Linklater's Waking Life
aptly
(left) is
visual extravaganza.
one of the greatest
for today's audiences,
The
grizzly survivor tales.
fated explorers got stuck

ly
is
brilliant failures, or,
ill-
and spent near-
two years stranded on the
ice
without
ever arriving at their destination. George
35mm
Butler uses original

stills
as
footage and
taken during the expedition, as well
new
from
footage
modern-day
Antarctic film expedition.
Va Savoir (Sony
29)
The
Picture's Classics, Sept.
sumptu-
city of Paris serves as a
ous backdrop for
romantic comedy
this
Jeanne Balibar
in
(right)
makes
a quick
escape
Jacques Rivette's Va Savior {Who Knows?)
which follows three men and three

women as they become entangled in an
ever-increasing series of interlocking love
triangles. Director
Jacques Rivette, of the
New Wave
French
tradition,
sets
Va
third attempt,
which was
ABC,
to be Mulholland
but the network pulled
Life
360
(PBS, premieres Oct.
local listings)
A new
5,
check
13 -part series hosted
Savoir (WJxo Knows) against the backdrop
Drive for
of the theater with a play-within-a-play
the plug. Never one to get discouraged,
hy Nightline's Michel Martin takes on a
which helps him expose the
new
vagaries of love without ever losing his
Lynch edited the series into a feature and

took it to Cannes where he tied for the
sense of fun.
best director award.
structure,
Dawg
Grateful
Oct.
5)
The
deeply rooted musical friend-
and bluegrass
David Grisman makes
more than
just a
concert film or
this
home
movie. Directed by Grisman's daughter

Gillian,
mances
the
film
includes
from
live
their early
perfor-
moments
personal
as well as rare
that trace the connection
two
the incompre-
hensible narrative shifts into theater, star-
(Sony Pictures Classics,
ship between Jerry Garcia
musician
Now
between the
days as budding
bluegrassers in the '50s, through the cre-
Theroux, Naomi Watts, and
ring Justin
Robert
Forster.
Waking
First
Life (Fox Searchlight, Oct.
Richard Linklater directed the
19)
digi-
tal
video shoot of the film, starring a mot-
ley
crew of about 60 actors including
Wiley Wiggins and Ethan Hawke. Then,
Bob Sabiston and Tommy

about 30 animators went to
supervised by
Pallotta,
work, each illustrating scenes for a char-
ation of the legendary album Old
& In the
acter or two.
Way
Garcia/
process called "interpolated rotoscoping"
in
the
Grisman Band
mid-'70s
that
to
the
showcased
of traditional acoustic
music
their love
in the '90s.
[see article pg. 28]
Mulholland Drive (Universal Focus, Oct.

12)
he runaway success of the Tu'in
and the
The
result
technological
is
art
was rendered with
not
just
achievement,
moving existential
Sundance Channel
fascinating
hut
rumination.
airs
scenes exporation of the
art
also
The
behind-the-
on October
topic each
week with reporting and
short films by a diverse group of talent,
including comedian Margaret Cho, journalist
Robert Krulwich, filmmakers Jeffrey
Friedman and Rob Epstein, and singer
Mary Chapin Carpenter.

Sonic Cinema (Sundance Channel,
Oct 12, 11 p.m.) The second season ot
three-part showcase
this
happens when music
is
about what
collides with inde-
pendent filmmaking and features

like
artists
Jamie Thraves, Michel Gondry,
Bill
Plympton, Jem Cohen, and Guv Maddin.

Investigative Reports with Bill Kwrtis
(AcxL, Tuesdays
in
Oct.,
9 p.m.)
The
10th season ot this documentary series
which has had reports ranging from 90

minute explorations
ot
schizophrenia to
full-length features like
The Farm, begins
anew
this
year with
two-hour block
ot
programming.
Macaidey Peterson
is
an intent
at
The
Peaks television series
made David Lynch
at
7:30 p.m.
Independent andti reami Princeton graduate.
October 2001
THE INDEPENDENT
21
(-^)
Once a director
gets used to a big

Hollywood budget, usually there's no
turning hack. How does one go from
scraping hy on a couple hundred thousand dollars per movie to suddenly spendmillions
ing
where the marketing budget of the film
more than you've spent
LIAM
y Beth Pinsker
of millions,
tens
really,
Stephen Frears
whole oeuvre up to that point
is
make your
to
and then
back to scrimping again?

This
what Stephen Frears
exactly
is
make
just did to
his latest film, Liam, a
Liverpudlian coming-of-age tale set during the Depression that takes the kind of
harrowing
Hollywood
turns
aren't
made
class,
the hold religion has
for.
It's
budgets
about poverty and
on
lives
in
small towns, and the intricacies of hell as
imagined by a 7-year-old
he hears
ries
terrified of sto-
The
in his Catholic school.
Anthony Burrows as Liam, and Frears
at right.
film also deals with anti-Semitism, with
Ian Hart playing an out-of-work dock-
or family drama, and his style will never
worker who turns to fascism to bolster
really
self-esteem
daughter
his
and ends up causing

accident
horrifying
his
in
Or maybe, he
High
first
time Frears deals
with Judaism on screen
he found out he
was Jewish when he was in his 20's and

he's now 60
and it's something he still
head
he
films about other people's lives,"

"I've
says.
made cowboys
about Pakistanis,
High
racy.
This
Fidelity
the
is
film
an independent
like
it
What
Disney guy?
to a
It
uncommercial
for difficult or
the
with
dealt
was naive about
it."
said,
way
make
it
it
in this case.
meant, "Make
should be made. Don't
it
try to
a film that everybody has to see
Of
given Frears' clout,
course,
made Liam
he
way he
the same
appropriate for the Hollywood system," he
could have
adds. "So you're either faced with the pos-
made High Fidelity, namely, for much

more money. But, he says, "That would
sibility
of never making
it,
or you devise
an economic structure that makes sense."
went back
Frears
his
first
successful
to the
way he made
feature
Beautiful Laundrette, in
1985.
film,
He
M;y
got a
amount of money from the BBC and

a few European investors and he started
shooting because he simply wanted to
make this movie. This was also the way he
made The Snapper eight years later, but
not at all how he worked on The Grifters,
Mary Reilly, or any of his other recent
small
Hollywood work.
With
studio films, he says, you have to
be careful to select the right material.

Frears
isn't
going to
the
make
kind of director who's
special effects blockbusters.
His films are always going to be about wit
22
THE INDEPENDENT
October 2001
have been
the
this
foolish.
It
me you
seems to
and
Britain,
said at the time that
worth
is
but not that
much money."
And
not a Hollywood attitude.

kind of shocking
now
people not to have a Hollywood

tude," Frears says, laughing. "But
up before the world was

ly
it
didn't
matter to him because of the way he made
But perhaps
that's just
an offshoot of
the British philosophy he describes
as:
"Success always seems to be very, very
unexpected."
"You couldn't in your right mind think
My
Beautiful
where.
Laundrette would go any-
When
they
made Four Weddings
money.
raising the
Billy Elliot
made Liam
like that.
I
I
for
atti-
grew
clear-
outside the Hollywood sys-
was made
with no expectations of what would happen, and The Full Monty too."
Frears
saying this
is
on the day that
whole country was waiting

pull out a
this
much money,
this
it's
the
at
the film would get distribution outside of
stomach. You just think,
"It's
in
life
Frears didn't have any expectation that
their tennis hopeful
can see
dealt with
with that in mind."
premiered
film
have an economic thermometer in your

spending
It
it.
made
and a Funeral, they had enormous trouble
three times."
"This material would never have been
When
it.
mean
wasn't a short-hand
was about young people.

I've
the
film," the
exactly did "independent"
Irish people, the aristoc-
time
when
director took that as a compliment.
Frears says he thinks
first
Judaism. I'm sure
films,
so
Disney came to Frears and
of
"Make
sounds unsure about. "I'm always happier
making
And
and
Britain,
Toronto Film Festival over a year ago,
instance, wasn't a par-
Fidelity, for
ticularly radical film.
good about
really
"You can say we've
offers,
been clever and didn't threaten them."
pogrom-like attack on a Jewish family.

This marks the
be crimped by corporate overlords.
his
to find out
if
Tim Henman would
win over Goran Ivaniseveic and

finals.
The
commentators were spending hours
talk-
make
it
ing about
him
Wimbledon
to the
how
the British just expected
to lose.
"We
expect
Tim Henman
to lose, yes,"
Frears says. "But you expect the price for

losing
and
is
a certain
independence of mind
a certain stylishness.
And
that's
tem and outside the Hollywood way of
rather good description of British film:
thinking."
We've kept going
To be
the
BBC
precise, Frears
as
tion. "British
made
the film for
an homage to the old
TV
rial like this,"
he
tradi-
used to deal with matesays. "It
was what was
selling
without
out to anybody."
Henman
Gate
for a long time
will
did lose, of course. But Lions
be distributing Liam
the United States.
this tall in
Jeff
Probst can't place a phone call so

from his cramped tent in Kenya,
easily
where he
filming Survivor
is
crouched over
laptop writing e-mail
about his debut feature,
which has
won
just
so he's
III,
Finder 's
Fee,
the best film prize at
the Seattle International Film Festival.
TV,
reality
toward
ed
Probst
been heading
has
his first feature for years.
out
He
start-
making corporate videos
Boeing, but
when he
for
figured out that the
gaffer
to
do when you're shooting
for the
week, he
own
started to cast himself in his
videos.
use
all
my
composer,
Americans, which
editor,
tough
is
Canada
in
with Canadian money."
Which
on- camera guys were making more in one
day than he was making
my DP my
me
my
is
not to say that Shavick took a
On
completely hands-off approach.
when
contrary,
down
soundstage
the
the
burned
just days before filming, Wallin says
did
After that, Probst got himself an agent
had half a clue what I was doing,"

he writes, displaying an easy-going and
and went the hosting route now doing

Survivor and VHl's Rock & Roll Jeopardy.
Shavick's determination surprised every-
All the while, he offered himself for gratis
'We're making this movie.
"Finder's Fee really
where
the
is
first
thing
manner
practical
that runs counter to his
TV
hyper-suave (and hyper-sweaty)
sona
per-
host of CBS's hit reality show.
as
exudes
Probst
even
over e-mail
the
behind-the-camera work.
music video
PSA
nitely learned by
comes from having worked hard
ally
in the
glamorous jobs before finding success
would do
"I
for free, or
for a non-profit for free.
kind of humility and gentle sarcasm that
less
band
for a
...
defi-
doing and as always, usu-
by making mistakes," he
Finder's Fee
shoot a
one.
"He
called the next day
work around the clock
to
set.'
And
they did
I'll
said,
to rebuild the
it."
This story would be more typical
if
Probst's post-Seattle celebration weren't
being carried out in Africa and
says.
took off when Probst met
and
hire crews
if
his
fame
weren't so hard to separate from Survivor.
in his late 30's.
He
the
is
far as
"What
that he can outrun them.
filmmaker brings
phone
a point of view,"
is
he
when he manages to get a

you don't know what
says in person
call out. "If
lens to put on, you
do] that.
why
his technical
filmmaking goes,
but he has a dogged opti-
for instance,
mism
admit
to
first
shortcomings as
can get [somebody to
you don't have a point of view,
If
"
bother.7
Finder's Fee
a morality tale. It takes
is
place over the course of a few hours in an
apartment
after
Tepper
Palladino) finds a wallet
return
it.
After he makes a call to a
ber he finds inside
it,
lottery ticket,
checks
numbers, and
lo
He
(ER's
Jeff Probst
against the night's
and behold,
show up
to
num-
however, he spots a
it
puts his losing ticket in
his friends
Erik
and attempts
FINDER'S FEE
Farrin Jacobs
a winner.
it's
its
place. Soon,
weekly poker
for their
game, and James Earl Jones comes to

claim his wallet.
The
small."
it
as a
film
own
originally
in his
own
Los Angeles, he ended up
in
17 days
in
it
words, "so
conceived of
cheap project to shoot
apartment
filming
in Probst's
is,
Though he
on
soundstage in
Vancouver.
"Nothing changed when we went from

$60,000 to $1.5 million; the more
the smaller
it
got.
needed to be
...
tight.
think Finder's Fee
if
move forward. Each draft

need this moment, this line?"
didn't
And
to
says,
wrote
the story
was,
Do
truth
greenlit before the
Unbeknownst
is,
the movie was
whole Survivor thing."
to the obsessive fans
of
"Either way," Probst says,
It
the work. I'm extremely proud ot what

did and
Art's Deli in Studio City pitching the pro-
life
ject to executive
producer James Shavick
(Kiss of a Stranger,
"We had many
The
cast," recalls Probst. "I
took these
made,
I'd
offers,
knew
that
it
we'd get our movie
instantly get labeled as another
who
doesn't
understand tone and can't cast
tor shit."
generic
writer/director
Shavick, he says, "gave
me
if
as the
"I
am known tor
guy who hosted
I
we
the rot ot
mv
hey,
Survivor
there are worse fetes."
For now, Probst
Darklings).
opportunities with pro-
duction companies, but we couldn't agree
on the
stand behind
of
wasn't long before Wallin was sitting at
answer an inevitable question,
"The
founder
the
MysticArts Pictures, in October. 1998.
You had so many
places you could get in trouble
be
producer Katy Wallin,
places
like
is
Variety
just
happy
to see that
and the Hollywood
Reporter are starting to write simply "Jeff
Probst"
instead
ot
"Survivor
host,
Jeff
film
and
Probst" or "that Survivor guy."
For information
about
the
MysticArts see www.katywallin.com.

Farrin Jacobs
final cut, let
editor oj
Octobei 2001
is
the
new managing
["he
Independent.
THE INDEPENDENT
23
Outstanding Individual Achievement
in
a Craft - Directors
NAATA proudly congratulates

our
News and Documentary
Emmy Award Nominees

Outstanding Historical Programming
Programs
by Barbara
NAATA has been at the forefront in creating opportunities for Asian Pacific
American media through national public television broadcasts, educational
ditribution, the annual
San Francisco International Asian American Film
and producers' services.
"NAATA is a
Festival,
non-profit media arts organization
supported with majbr funding from the Corporation for Public Broadcasting."
.
,
II
!
T
A
^^ ^^
A
^^^
'T
A
^^
Sonneborn & Janet Cole
r-J
Clockwise from top
b Distributor
The
left:
NAATA; from Maria
staff of
Gargiulo'sfasf of
BY LlSSA GlBBS
Occidental;
director Spencer
Nakasako; from
Carma Hinton and

Richard Gordon's
Gates of Heavenly
NATIONAL ASIAN
Peace.
AMERICAN
TELECOMMUNICATIONS
ASSOCIATION
What
NAATA?
is
For 21 years,
NAATA
has been creating
American
opportunities for Asian/Pacific
TV
media through national public
broad-
educational distribution, the San
casts,
Francisco International Asian American
Film Festival,
and producer
Our
to present the rich
mission
is
services.
and
and confer cross-departmentally
diverse stories of Asian Americans to the
ble collaborations
broadest possible audience through pro-
cially for titles that
duction,
exhibition,
NAATA
NAATA
346 9th
is
or-
ganized by departments:
Media Fund,
Public TV,
and
Exhib-
Festival,
and Educational
ition
as
Nick Rothenberg (Bui

Doi:
Like
Life
Taggart
Siegel
and
Collar
Dust),
(Blue
How
Floor
415-863-7428
fax:
are
various
most of the
collection: 200, including
docs, shorts, features, experimental,
Projects sought: Any length and genre

Titles distributed:
Person
{First
independent
Deann Liem Borshay
(Dirty
Laundry),
Media
Fund.
is
tertaining,
NAATA
NAATA Distri-
and
Where
tion of sales
is
the
(John Akahoshi);
and
rental
of
Web
site
We Served
in the
Sun
with Pride
Wrongs: The Fred Korematsu Story
non-profit
Fournier),
organization.
How
What's your basic approach to a release?

We announce it in eduand
ethnic
cational
press; place it on our
(Montgomery Horn); OfCivil Rights and
We're part of
same
Upcoming: launch
www.JAInternment.org; Eagle
department within
NAATA.
festivals,
Staff: 18, including distribution depart-
Distribution
show: Schools,
Forsaken Fields (PBS
online catalog; feature
made
to
Departments formulate
conference
tions
NAATA?
their
Where do you
own
budgets
We
did NAATA start?

NAATA was formed through
the dedica-
and advocacy efforts of veteran

makers and producers including Loni
Ding, Felicia Lowe, Spencer Nakasako,
and many others who wanted to do
something about the prevailing lack of
Asian- American images in mainstream
tion
media
venues.
In
1986,
NAATA
Distribution was conceived as a direct

service to filmmakers and the educational
community.
Most important
issue
facing
NAATA
it
find
exhibi-
and screenings.
your
Keeping up with technology and getting

funding during a downturned market.
titles?
Lissa
pick up
to
both broad and spe-
today:
KVIE).
at
our mailings; market
affiliate
are business de-
cisions
films to
it
(Eric
in
into
means we know how
How
empowering.
revenues and grants.
ment
bution?
NAATA
titles
commu-
work out
cialized audiences.
Earned income: a por-
community events.
with veteran
as well as
en-
Tony), Steven Okazaki (Days of Waiting),

Girls).
Asian
title.
conscious,
Peace), Spencer Nakasako (Kelly Loves
the relation-
ship between
partnering
nity organizations to get the
market the
Annual acquisitions: 10-15
What
decades
makers and producers
typical
Where do your operating funds come from?
Soe (Picturing Oriental
for
for
re-
Carma Hinton and
Richard Gordon (Gates of Heavenly
Valerie
understand the market
dis-
NAATA
Socially
Woman), Richard
you from other
ceived support from the
few have
"NAATA"
an Indian Woman Who's Funny?),
Fung
distinguishes
festivals.
American cinema, its role in the community and in media. We've been doing this
works.
Describe
Plural), Loni Ding (Color of
Arthur Dong (Sewing
We
Media Fund
TV presentations. We
Asian-American film
the world. This
Honor), Gurinder Chadha (What Do You

Call
also scout
financed?
NAATA
the
in
tributors?
Some works are produced

by local PBS stations.
audio
works
What
are
We
through open submissions.
monitor the development of new
also
"pipeline" or Public
Julie Hatta, Distribution Director
in
festival or
films in your collection
Most
Contacts: Eddie Wong, Executive Director;
Buddha)
and many more.
Second
415-552-9550,
Works
Asian makers, such
St.,
San Francisco, CA 94103
Distribution.
So do you only distribute work by Asian

Americans?
We have a number of
great titles by non-
move through
departments.
or educational distribution.
for possi-
and cost-savings, espe-
many
of
our
titles
through our
Octobei
2001
Gibbs
is
to
The Independent..
THE INDEPENDENT
25
4th Annual
San Francisco
Independent
Film Festival
Jan 31-Feb 10
Entry Deadline Oct 26

www. sf indie com
.
415.820.3907
Call for Entries

45th San Francisco
First.
DOCUMENTARIES, SHORTS,
ANIMATION, EXPERIMENTAL
& Depc
IndieFest 2001
18-May2, 2002
April
Last
by Peter Hybguchi
Audience Award
Winner
AND
TELEVISION
ENTRY DEADLINE:
NOVEMBER
5th annua
30, 2001
Golden Gate Awards

San Francisco International Film
39 Mesa Street, Suite 110
The
Festival
^
i
!
lb
Presidio
San Francisco,
CA 94129 USA
TEL: 415-561-5014
FAX: 415-561-5099
0t
*&
r\
%.
i
^ #'**
NARRATIVE FEATURES
ENTRY DEADLINE:
April 4-7,
2002
Durham,
NC
JANUARY 4, 2002
CALL FOR ENTRIES
Programming Department
Deadline: December 3,
San Francisco International Film Festiva

39 Mesa Street, Suite 110
The
Late Deadline:
Presidio
San Francisco, CA 94129

TEL: 415-561-5026
FAX: 415-561-5099
USA
For information and entry forms:
919.660.3699
[email protected]
SAN FRANCISCO
FILM SOCIETY
www.sffs.org
In
2001
December 10, 2001
www.ddff.org
association with
the Center for Documentary Studies
Price Above Square Footage
by
Daniel Steinhart
a sign of the new New Economy: Six

media organizations have banded together in the Bay Area
Perhaps this
is
by buying their
to fight the city's sky-high real estate prices
own
building.
tion of
The Ninth
Street
Media Consortium,
a coali-
Cine Accion, Film Arts Foundation, Frameline,
While Silicon Valley's

high tech revolution promised
the
solve
to
problems,
it
world's
created some
its own at home. The

new documentary Secrets of
of
Silicon Valley
filmmakers Deborah Kauf-
(NAATA), National
man and Alan Snitow
(NAM AC),
Alliance for Media Arts and Culture
and the San Francisco Jewish Film
Festival,
Ninth
St.
when
lease expires in
The move
is
home on
current
its
June 2002.
about more
is
than necessity or simple
cles
who
already
reside
together in the Ninth St.
Media Arts
stone's
Building,
throw from their
home,
proposed
below-market
Raj
is
tive pledges to find a
ating a business relation-
ship
among
foster
the groups to
its
Is
philan-
this
Kaufman and Snitow

tour to festivals and
non-
The
are
computer-training center
New
low-income
28
community sitting in the shadows of Silicon Valley. As Magda

reaches out to high-tech com-
at
York premiere in October
New
York University.
Independent Lens
(check local
panies to help fund the center,
on
appear
also
will
communimake its
film will
in
It
PBS's
the
fall
listings).
For more information,
visit
skyrocketing rent forces out the

www.secretsofsiliconvalley.org.
people she
is
trying to serve.
DS
growth while lower-
ing overhead.
The
con-
subjects
taking their film on a national
plant.
In, a
ask:
ty groups.
in East Palo Alto, a
and takmodel of shared

space even further by cre-
and
thropy or just marketing?
Hewlett
packaging
profit
sticking together
film
in
and
for better health
safety conditions in a
the lease ends, they could
ing their
for the organization.
after
employees
runs Plugged
roll,
permanent
home
sequently
Magda
interim
In's
Hewlett Packard's chief execu-
a temporary assembly
demands
Clinton speaks
home. As news cameras
behind by the
leading fellow
Packard
ways, but, instead, they are
Bill
Plugged
outside
factory
worker who loses his job
When
separate
the
poor and the
have gone
their
The film's most poignant

moment
happens
when
high-tech boom.
paying
rent.
left
fighting for
In,
activists
immigrant
workers
Plugged
in Silicon Valley
President
young
fight for the
mostly
happenstance. These organizations
of two
at
workers's rights
chroni-
turbulent year in
lives
Magda
Activist
from Berkeley
National Asian American Telecommunications Association
negotiating the purchase of a 21,600 square foot
essp
<
VALLEY OF
THE POLS
The Bay Area:
r ->
=-!
in fact,
It is,
the familiar dot-com strategy of using an incubator.
Gail
executive
Silva,
director
Foundation, says the building
of
organizations' overlapping interests in mind.
amount of
Film
the
To reduce the
individual overhead while maximizing
common
space, the building will include shared screening rooms,
main entrance and reception
area,
to find
new ways
to profit
from
The
arts
groups hope
their similarities
The new
media
arts
group to move
Newsreel,
California
in.
is
and
Beer?)
recommends
anoth-
Potential tenants include
Francisco's Castro.
take
it
the
"human
one... from viewing and giving
Reid praises the new talent that comes from the top-notch postgraduate film programs at Stanford and the
"We can
dune anyplace
a structure to [the]
community and
eighteen years. This
will
Bill
hope-
many
ways, hut
ot
way
it's
New
York-based freelance writer
level oi people's
oi
main new
he Life and Legacy oj
come
It's
limned
out here because
think that's the big resource;
commitment."
hard working here.
course people
very supportive community.

a
point oi entry tor
Jersey (Super Chief.
to the next level."

is
Berkclcv School
aspiring filmmakers."
Earl Warren) believes, "In a
Daniel Steinhart
UC
Journalism. She also extols the film Arts foundation, which "gives
in
fully
is
feedback on works-in-progress, to sharing information on funding."
complete a fashion. We've done
last
Is
Pacific
Film Archives (also an indispensable place for doing research), and
San
For inspiration,
very informally for the
Cinema, The
Festival.
optimistic about this synergistic move.
create something here that has never been
it
Berkeley's Fine Arts
dis-
Canyon Cinema, San Francisco
else in the country, in this
Three veteran doc-
their thoughts:
For filmgoing, Les Blank (Burden of Dreams, In Heaven There
No
the best resource
Cinematheque, and the Silent Film

Silva
are the Bay Area's filmmaking treasures?
umentary filmmakers share
For support, Frances Reid (Long Nights Journey Into Day) says
building will also have three
floors instead of the current building's two, allowing
er
What
like shar-
ing a print broker for the organizations with festival

tribution catalogues.
one
and one business manag-
er to oversee the building's operations.
Hidden Resources of the Bay Area
Arts
be redesigned with the
will
it's
it's
the
DS
\ tobi
\Y
THE INDEPENDENT
explorations. Subjects are
Looking for the next documentary revolution
the timeline
arc,"
and
more attention
a lot
soundtrack,
the
"characters,"
referred to as the "story
is
the
paid to
is
and the
lighting
overall production values.
Then
Verite
there
the pressure of access.
is
documentaries are supposed to
some place he or she
take the viewer
couldn't normally go
a
into the bowels of
mental institution or to the picket
Beth Pinsker
much media out

a little
camera
lines
With
of coal strikes in rural Kentucky.
so
and everyone with
there,
where
in hand,
there
is
left
to go that will surprise audiences and take
More than 40
Joe Berlinger
years ago,
filmmakers took to the streets
armed with small cameras and

Berlinger (below) and Bruce Sinof-
sky (far
have made three star-
left)
verite
Keeper (1992), Paradise Lost
murder
were about
All
with synchronized
move-
documentary
ment. The purveyors of such
(1996) and Paradise Lost 2:

Revelations (2000).
recorders
sound and sparked the whole
Brother's
tling films together
art
journey they could never imagine.
The Independent convened an informal discussion about this

and some in
shifting landscape with filmmakers old and new
between
to talk about
how
verite
Wiseman and
Frederick
Chris
Hegedus; counter-revolutionary Errol Morris; hybrids R.J.
broke
Cutler and Joe Berlinger; and
form
their reper-
the
art
caused contro-
free
from
versy. For
pods and the
newcomers Jehane Noujaim,

who partnered with Hegedus
on the recent Startup.com, and
Berlinger, that's
historical
Gillian
record
Grateful
cussions.
All
tri-
about more
to
fo-
who
Grisman,
directed
Dawg, a Sony Pictures
than just the
payments
on
cus
to the
real
for access.
"We were
pushing our
Independent:
Do you feel
filmmakers
there's pressure
are
style to a
still
work-
ing today the
says."Brother's
same way they
Keeper was the
But where
documentary and
ed for theatrical release.
It
natural dramatic structure,
is
because
it's
yet
has made
and harder
While he
is
course, but also because of dig-
for
him
it
both eas-
to find work.
earth
and on
it's
new kind
TV
his
he says, "Everybody on
is
with the additional experi-
these days to get
own cameras
Fox cancelled the
be there
show, but PBS
the
because
more
time
or
picked up the run
all
and ordered anothwhich Cutler
expect
poeple
of giving the
to film diaries.
filmed
in
an
or
because
that's
the only
team
way
push the
work on a series
it
to
urban school. His

is
currently at
about young doc-
envelope?
theaters.
out
reality
The medium
for
known
better
has
or
away from what has
and toward something closer

to feature filmmaking. Documentary directors are now sometimes involved in their films even when they aren't personal
THE INDEPENDENT
as verite
October 2001
to get access.
We
like to
get
critical
response.
way to
So we
look for something pulsing. For
The War Room,
it
Pennebacker working with them
D.A.
that's the only
on so-called
shifting
like."
hope
learned the most from Hegedus and
because
Cutler says he
Chris Hegedus: You always
even
documentaries on cable and in
spective
traditionally
and not the
to explore high
their
increased
and used to seeing slick
been
I
and
worse, depending on your per-
28
life,
student subjects
our films theatrically
of audience
making documentaries, but
not the kind of stuff
been
style
ment
release
competition. There's
there, fed
busier than ever
films, both with Sinofsky
cameras
ital
doing both fiction and non-fiction
own
TV
originally intended to
style
again in a revolutionary
way, perhaps just as a matter of
also a
Berlinger says the break-out of
ier
The show was
all,
and thus the context.
tors.
a film's impact."
like his
to break
Documentaries are evolving
meditation on the nature of doc-
films
PBS. The show didn't change at
to
just the network,
school
closer,
the last
American High (inset)move from Fox
choice of subject
was groundbreaking.
is
newer
leading
who want
own ground?
their
very subjective movie. Paradise

in
legacy
their
filmmakers
has a
and
is
first in
his 13-part series
(left)
of the early verite films intend-
making and
have
to
er,
self-distributed
matter
have.
always
first realiy big
Revelations
documentary
was
reality
and
happenings.
Most of those
new edge," he
Lost (inset)
Cutler's
year
Classics release in October.
people
subjects of the
one
RJ. Cutler
use the verite
films or deals
own
documentary was or was not
changing with the times. The participants: verite pioneers
were labeled rebels because
trials
they
and
them on
was that the
on The War Room, but his latest work

on his own goes
"My
goal
make
it
in
in
new
as engaging as
be," he says. "There
is
it
no narrative
away.
one's imagination. In 1998,
people to be themselves.
was the Internet.
young
had
to find a
entrepreneur.
For
met
Kaleil
Startup.com,
[Tuzman,
first
co-founder
is to
can possibly
voice because narrators push you
election was capturing everyit
direction.
any film or TV show
them
I
don't interact because
to stop
want them
don't
want
want
and provide commentary.

to live the experience."
of
Govworks.com] and he was interested because of [his roommate] Jehane. That she wanted to be involved gave us this very
intimate access into the
Jehane Noujaim:
potential to
night
if
When
was.
month and
When
a half.
would get
I'd call his cell
started editing,
of the time, you have the
all
stomach ache
If
went back
missed about a
there, there
were sensitive
meetings going on, and Kaleil and [Govworks.com co-founder
Tom Herman]
me
asked
ference to just be there

R.J. Cutler:
like to
come
My goal
this
I
wanted
to use
field for a year,
do
all
makes
It really
The concept
my disposal.
and we got cameras into
when
a dif-
That's
make
to
put two crews in the
kids'
when
hands, so that
they were thinking about the
We
terrific stuff.
couldn't be there
can understand why some people might be scared of it
it
outside of a certain orthodoxy. But
think
got us closer and closer to telling the truth in as dramatic and
Noujaim, just out of Harvard, hooked up with
I'm not aware of any break-
compelling way as possible.
nique.
one's
ly cynical,
wanted
to
make
and
all
of that. So
think in 2001,
Hollywood producers
offering
Digital filmmaking
The
inducing medium.
one should be
if
we
the same story as Paradise Lost or Brother's
would be 100 competing media
Keeper, there
tarians.
become extreme-
with the Jerry Springer-type shows, the voyeuristic
interest of the audience,
flip
movie
is
side
rights,
access-
Not
lowering of quality:
every-
a filmmaker.
What
I'm trying to do as a filmmaker
the essence of what people say.
done
this
now
for a
working on now
ferent.
think
is
capture
so strange having
to think the series I'm
Person for the IFC] does something dif-
one person and exclude anyone
care whether people think this person

or not credible.
it's
good number of years,
[First
just talk to
remove
it
is
else.
don't
right or wrong, credible
from consideration. All you see
is
(left)
roommate
ture starting a
had already started
Kaleil
Tuzman's adven-
dot-com before she went lookworked both ways," says
^^^^
In
Hegedus
Jehane gave us
video has
instant access.
me
allowed
"Having
(right).
case, dig-
was
That
to shoot in a
important
different
because
way than
could
first
have before,
come
start working.
if
only for the
And
showed
simple reason
her what she
that you can
needed
shoot for an
know."
to
two
After
hour
at
a
years and 400
time, or
even
hours of tape,
While
Startup.com
may seem
(inset)
ended
up capturing
like a subtle
the rise and
change,
it
fall of
has certainly
been
Govworks.com,
sig-
competed
Sundance, and was released
nificant one.
summer
Berlinger:
used to be able to
"I
at the height of
think this film
dot-com gloom.
was made
very differently
from [Hegedus and Pennebaker's] other
now I go
films," says Noujaim. "It
out and shoot a
little
on the way home in

the plane with Final Cut Pro 2
on my G4, and I have a demo
to show when I land. I'm findI
ent
edit
in
terms
of shooting.
at
theaters this
in
pitch a project verbally. But
was
certainly differ-
They shot
like
hours for The War Room. They thought
40
was
doing Proust with this."
ing that because of competition for good ideas, walking into

pitch meeting having already shot something puts
me
far
abend
of the game.
Noujaim:
I'd
Gillian Grisman: Grateful
Dawg
is
about access.
It's
not a tech-
What's important about
it is that you are let

and private world and given access to musicians. For me, being there was about being somewhat aware of
what it was when it was happening. Sometimes being there, you
nically great film.
into a very personal
know something
thing was happening.
we knew
that
it
We
special
is
going on.
knew some-
didn't necessarily shoot with intention,
was important no matter what
to
keep tape
rolling.
shot Startup.com with a digital camera with a
little
Most of the time, the camera was in my lap and

in my hand without having to look through the
It was easy tor us to have more of a regular conver-
hold
it
viewfinder.
sation. I'd find
when put
I
to talk naturally to a
the camera up to
camera
my
eye.
it's
very hard
lens.
just happened to he around, home from colwhen Jerry Garcia and my father [David Grisman] reunited. The environment in which rhar music was created was in my
family home, in my father's basement studio. His attitude was
very homespun to begin with: Why not have everyone do what
they can do. The fact that was able to shoot a camera was perfect. They didn't have to have somebody in there that they telt
Gillian Grisman:
lege,
my own work,
my own head.
Frederick Wiseman: In
by anything outside of
done or how
How
does
it's
have not been affected
don't
know
what's being
beng done.
digital
technology affect this
uncomfortable with, lor most
around shooting
in
the
day and
flip-out screen.
elsewhere.
but
filming her
person narrating a story about themselves. That doesn't exist
don't even
the goods. Noujaim
that any-
partially out
coincidence and partially because she had
ing for a partner. "It
Morris:
bit.
Errol Morris:
know
come through with new
20 other documen-
a great democratizing,
is
dozen
there, a
don't
of
technical solutions.
it
that people have
is
Hegedus, one of verite's pioneers,
throughs in storytelling tech-
longer.
Joe Berlinger: What's hard
Jehane Noujaim
matter what the technology.
ital
of giving the
way
&
Chris Hegedus
the
same no
it's
what they hoped and dreamed, they could pick up

it.
Theoretically,
issues are exactly the
my
thinking: What's the best
the tools at
or wary of it or find
it
had hung
get the audience or press to pay attention?
camera and record

for that.
the time.
they couldn't sleep at 2 a.m.,

future and
if
with American High was to answer what
came from
How
show/
all
me.
let
of age in America today.
kids cameras
Maybe
not to film them.
out the whole time, they would have
Wiseman:
stopped filming.
at
woke up at 3 a.m. and

phone and go to where he
missed something.
home,
Kaleil wasn't
you're there
If
the whole story.
tell
thought
of the subject.
life
ol
the time,
was
just
fooling
stuff.
your work?
October 2001
THE INDEPENDENT
29

as you believe
there are rules to verite filmmaking?
Morris:
The one
With
shooting.
thing that
is
true
is
that you
do have
a style of
minimize your interaction or you deceive yourself that you don't

interact.
Grisman
Gillian
You come away with
own
with her
(right,
one of his subjects to

have a session in a recording
really that either.
from Gates of Heaven
his films,
is
people
tric
esting,
but
think the movies
(inset)
had just reunited
after a long
I'm not a cinema verite film-
their friendship
and started a
maker.
think
it's
men hung around
and what they have

to say.
Morris
mistake to
it
because she
in
all
didn't
want
in
her film
filmmaking
all
contains elements of both.
Hegedus:
dad asked that
inevitable
don't like to ever
say
there
that
rules.
strict
are
want
be
to
closed
into a corner.
are you getting your
just
stuff out of
that you're
the house?
in
like
feel
theater,
making
dramatic story
that
She started
to
follows
go through
the footage,
maybe
there
y would be a
| concert DVD
30
I
1 40 hours.
I She found something else: The usual
B story of a musical friendship that blosin
the
or
| somed
|
"I
g were
have been
tic.
very
do.
years.
It
has
Some
changes are because
of
always think
it's
stylis-
strongest
it I can tell a story in real time,

Sometimes that doesn't hap-
and could never
held to any schedule by a
pen.
filmmaker."
Berlinger:
selves storytellers as
rytellers.
We
much
can't put
as
we consider
really subjective.
tion as
We
we experienced
Noujaim:
our-
genius bouncer Chris Langan, and
of
mob
the story of Paradise Lost 2.
fall
kicks off with

Harris,
lawyer Murray Richman.
The groundbreaking part
Grisman:
putting
my name
film.
didn't
camera
was opposed to
calls the
know who
it
was
me
encouraged
all,
was.
didn't think
important.
not
it's
"I
People
to
do both.
in
my
when
new
version of a set-up he
Megatron.
just
assume
that people
know
they're interviewed for hours,
they are going to be edited.
are saying.
It's
obviously a judgment
I honestly felt it would be

call how each individual sentence is
more interesting story, and it
put together," he says.
was not necessary for me to put
myself in there. It was also challenging in a bizarre way to not
disclose that. To make people feel comfortable that they don't
know how it is, letting the story tell itself and that the perspective wasn't the important thing, it was what was being told.
it's
this
rules.
Noujaim: It was a choice. There was a lot of interesting footage,

where Kaleil uses my name and asks me questions. We thought
about it, mostly when we^were editing. But I thought it took you
away from the story. We decided to go with a more verite style. I
felt like when you don't have some other person there, you're
more dropped into that world.
Cutler:
We
thought: Kaytee had a prolific year
gosh wouldn't
feel that all
filmmaking
an interesting kind of wow,
showed Startup.com
amazing how important
it is
in
for people
to stick to
here.
We
it
[as a
songwriter]
be great to get her in a recording studio. There's

there's
no adherence
to orthodoxy
broke a bunch of rules by doing that. But are we not
Where
friendships?
with them?
did this idea
come
we not allowed
to
Are there some rules you think need to be broken, like rules
about interaction or disclosure? Gillian Grisman never men-
think you just have to trust your instincts.
Berlinger: Every time [partner Bruce Sinofsky and
30
Dawg,
THE INDEPENDENT
for instance, that she's the
October 2001
daugh-
you can't do
form
that you're not engaging
something, there's been this chorus of criticism
like that.
can't create
was reenacted. In order
Also,
allowed to care about our subjects? Are
if
try to
capture the essence of what people
have] done
you
can't use
Metallica in the soundtrack for Paradise Lost, you can't do
tions in Grateful
digital
being on camera.
like
the
20
talking for eight or nine hours, that
First
nature;
is
to
at once focused on the inter-
viewee
to
He uses up
style.
cameras
in front of the
want people
We
it.
do believe there are
chronology and things
consider
believe our films are the truth of the situa-
Egypt and people asked

to trust in your story,
We
ourselves non-fiction sto-
words into people's mouths.
events that weren't really happening. But

is
which ended up being part
don't
technology and some are
knew when they
getting together
Pseudo.com founder Josh
some kind of
resolution. Whatever
way you can tell that
story and make it
work most effectively
what you should
of the
else film this," she says. "The
casual. They never
Channel. The
of
changed over the
second
season, for the Independent Film
let
I way those two guys operated was

g
is
the most at the very end.
don't think they would have
| anyone
characters
in its
Paradise Lost a small stipend,
through an arc and

that has
thinking
now
American High. Joe

Berlinger gave the subjects in
in
don't
chil-
When
dren:
series First Person,
studio
point oi view,
question to
grown
my
on Garcia's name.
Five years later, her
now
is
of sorts, pro-
fic-
creates
it
kinds of nonsense. For
all
be part of
to
between
a distinction
and nonfiction;
tion
in
her father's basement
the crowd cashing
TV guy
ducing the interview
After Garcia died
1995, Grisman packed up
and locked
make
the her living
eccen-
call
or weird or
unusual people
very personal.
bluegrass band. For a couple of years,
room making music.
mostly what
you might
just out of college. Her
about
all
to Mr.
that
(left) is
quite inter-
It's
not
it's
What draws together
they are
films are shot.
Dawg
work
of his
could count as experimental,
his
that result are
the
a journalist or
isn't really
Fred Wiseman, for example,
how
a verite
a feature film-
And while most
historian.
Startup.com. R.J. Cutler paid
isn't
isn't
Death
David Grisman, and Jerry Garcia
in
maker. He
in
for
father,
lapse
with one of the subjects
says he
(inset)
grateful
dog) started shooting Grateful
when she was
roommates
she's
that
Morns
filmmaker and he
film that looks a certain way.
quite scrupulous about

Grisman
one of the subjects, and

Jehane Noujaim never menter of
tions
you observe, you do not interact or you
verite,
Errol Morris
much
that changing the rules some, as
Is
that,
you must be
telling
or else you wouldn't be getting these scenes.

criticism. For us,
we
get access to
this,
your subjects what to say
some
don't listen to the
pretty intense situations
and we
we're going to spend that
feel that if
amount of time with
didn't disclose the stipends in
Ward, which turned out
we buy our
Wiseman
Frederick
wasn't an issue
witness and the experience
Most documentary filmmakers
of the profit to Delhert
you have, some meeting
Wiseman as an
to be nice piece of
it
change
him. Did
for
No. The amount we paid wasn't enough to

it checkbook journalism? We never asked
access?
buy anything. Was
combina-
is
tion of the experience you
film because
first
we gave 10%
for us. In Brother's Keeper,
you make
film
We
people and they are that poor, that they deserve something.
how you
point ot
his perch at his office in
Massachusetts, Wiseman plays the
how
people changing and
The 71-year-old director
part.
you yourself change having
making
into the
gone through
people to say anything.
and from
see the
cite
influence on their work,
it.
much
doesn't pay
new
Hegedus: think you have

to be open to anything.
Andy Warhol stared at the
Empire State Building; people are going to use media
own
of his
deep
is
work. He
attention to trends or
because he
directions in the genre
Do you feel like there are some rules you wouldn't break,
some that you wouldn't break again?
The
Berlinger:
with
exploitation issue
something that
is
the time. There are certain situations
all
Mark
Like with
Byers [from Paradise Lost],
mentally retarded,
easy answer.
If
we'd disclose
Wiseman:
something.
struggle
wouldn't
or
film.
he were clearly
if
wouldn't have filmed him. But there's no
we paid people
on another
stipends again
film,
in
As an
to
way
doing what he
in
he's always done
me
"It's difficult for
much
If
of
it.
to generalize
what's going on because
don't see
what's being done," he
offers.
more people have cameras these
days because
you have
artist,
only interested
does, the
sorts of imaginative
all
ways.
is
ones are cheaper,
digital
then he says, "More bad movies
have your own convic-
be
will
made. A few good ones and more bad
tions in terms of
it.
what
know
don't
until
finish the editing
get angry and I'm disappointed.
missed
I've
if
think about
I still
interests you.
That can develop

and change Ever
.
events where there was a picture or sound run-out at some cru-
But
cial situation.
movies
events
what
E.R.,
don't ask people to re-do
make, chance
film are not usually repeated. Clients
they're going to say
is
With the kind of

The kinds of
it.
crap shoot.
like a big
is
pop
in
might miss an overdose, and the next overdose
be different.
Or
is
I've
power
an
lowing
going to
whole thing
is
felt
in fol-
real-life
drama and put-
if
ting
you're going to abide by the rules
begin-
there was incredible
in
might seem pretty obvious in retrospect, but
It
ning,
day, but
all
always going to be different.
the
since
and not stage anything, the
out
it
to
audience in a way
PHOTOS COURTESY FILMMAKER
a risk.
that they are wit-
Hegedus: We've used interviews
we
enough interesting things. We go back and get stock footage and develop characters. The one thing we never would do are recreations. The
unwritten pact you have with subject is that if we miss something
that's
our
if
fault.
Morris: Mr. Death: The Rise and

perfect
example of a
person in
it.
film of
Fall of
Fred Leuchter,
mine that was
just going to
That ended up being unacceptable
my own
about Fred, but
rule
to
Jr.
was
have one
me, to release
much to interpretation. So I
and added many voices. The film is still is
the movie in that form.
broke
don't get
It left
his voice
is
too
supplemented by a good number of
other people.
nessing
what
went
like
to look at
His
through.
people and
that
most people know Jerry Garcia the
psychedelic rock guru of the Grateful Dead, that he did drugs,
and that he died of a heart attack. That
is
The
truth.
truth
is
also
that he was a banjo player
and was inspired by bluegrass early on.

Most people don't know that. think the whole film is my perI
spective.
Culter:
live vicariously
My
great film
school or
sense of this
make
it
through
is
all
the people
that the only rule
assert
anything
else.
put in the film.
still
as entertaining as possible.
new wouldn't
is
Any
to
make
from his
line
first
a very
in
feature, Titicut
Follies, to his latest work, Belfast,
Maine. The idea has always been
sadness and the emotions
up shop
that
we
feel in
in a
lives.
office
Noujaim: There
thing
want
it's
new
is
in that
dynamic characters.
combination
having
never happened
a risk," he says.
come
weeks
at
out with enough
to
me. There may be
because not
like
is
enough
is
going on, but
tent with the
All
is
six or eight
films that people don't
important.
Morris:
the editing.
material for a film. Luckily, that has
that
both
of
in
a place.and not
with any story that's
things work.
doesn't look for the
"You could spend
Just
how
figure out
"The whole thing
important to have
to set
of a film while he's shooting.
That comes
and
a dramatic story,
still
meaning
still
kind
institution or a welfare
and
Wiseman says he
not any-
you
some
a place of
in
town or an
our
way my
been con-
I've
films
come
out."
filmmaking
contains elements ot both
documentary and
is
own work moves
that
life
interesting,
Grisman: The truth
way
steady
you see the humor and the
like
The goal in verite filmmaking used to be to get to the truth.

Has the notion of what is the truth changed because we're
all too cynical or because audiences know too much about
the filmmaking process or because we watch too much
"reality" TV?
ones.
Truth
point
is
is
The
narrative.
in different places, but
all
Somehow
a linguistic notion.
that truth
is
line
between the two may
filmmaking contains elements
a quest.
it
not as
It's
tall
both.
ot
eludes people. .Another

it
you ptek
.1
style
and
it
gets you to the truth. Style doesn't guarantee truth. I'm really
impatient
they're
when
hear
more honest
filmmakers making claims

more objective than the next
verite"
or
Skepticism about everything
good
is
that
guy.
-skepticism about film in
particular.
person old
believe that the
Bed
ni-sker s editor in chiej oj

1
Ii
ibei
2001
THE
N D
he Independent
P E N C
N T
31
REALITY
was
TV:
The Local News crew was
trying to climb from third place to
in
the
newsroom as WCNC
first.
Charlotte newsman Mike Redding

best.
NBC
Since his employer,
wants more dynamic visuals

ing hurricane in
He
head-on.
affiliate
for his reports
and
trying his
is
WCNC-TV,
S&
VTmonttef
on an incom-
1999, Redding confronts the storm
walks from the shelter of the sand dunes
onto the exposed beach and does
stand-up report
his
The
leaning 40 degrees backwards against the gale, like a car-
toon character defying

In this scene
Local
gravity.
from Local News, a
PBS beginning October
9,
five -part series airing
Redding has been out there
in his yellow slicker, but he's getting as frustrated as he
drenched.
The
trouble from his end
ture reporter to
idol
is
do human
many
"They made me
is
to
a promise,"
is
getting
do well-written
he says with an
who
is
is
caught in the corpo-
it's
breaking news, not
managers believe
will
we watch Redding
creatively stymied by the internal pressures of a
must balance business and public
October 2001
a well-
rated third in Charlotte
trying desperately to rise to the top,
the difference. So during this episode
News was
make
wither,
news organiza-
service.
to
make
idea behind
a long- form docu-
without the masses of experts and
itself,
hand-wringing that usually accompanies the topic.
Executive producer David

in the public say,
Van
Taylor explains, "A lot of people
'Oh the media,
they're
all
so cynical, so jaded,
They don't care about anything but ratings.' But we

learned early on that that's not true."
The aim of this series, he says, was to highlight the tension
so liberal.
between dedicated reporters
WCNC,
Kuralt-style reporting, that station
THE INDEPENDENT
endless
that he was hired as a fea-
of the characters in Local News, Redding
rate squeeze. For a station like
32
mentary about the news
for days
rain.
intentioned, hard-working reporter
tion that
on
interest stories, not spot news. His
edge of anger slicing through the
and
is
Charles Kuralt, and his ambition
pieces about people.
Like
ng
trying to
do something good and
the structural barriers and systemic limitations of news organizations. "This
was a chance to
really get inside the
people
who
are
making the news, and put the viewer in their shoes," says producer Ali Pomeroy, who came up with the original idea.
Early on, the producers decided to stick with one television
10 months, turned
than explore the news by
station for a long period of time
netting 300 hours of videotape
jumping from station
as
it
out,
rather
to station.
That way,
situations develop
and characters evolve. Van Taylor prefers to compare Local News

to Homicide, ER, and The West Wing. He explains, "people can
understand there are issues here, but the issues are expressed in
And
terms of characters.
to this character
is
the question of what's going to
what hopefully
happen
viewer to tune in
will get the
a bit of a
middle of
in the
happy accident that the show ended up
The crew was
in
and that
that,
all
really
works
Connors' roller-coaster ride
is
one
influence in
when
station faced
it
He reminds
staff of the ridicule
prematurely went
live
ham sandwich wrapped
By the fourth episode,
he's pushing the reporters to
the series,
and
breaking news.
tion.
arrested for trespassing
angle on a stalled
investigation,
where they were
originally going to
when they got a call from the news director at the sta"The deal's off," he announced. A sudden change in management meant a round of firings was about to begin and that
was not the kind of thing this station wanted to broadcast to mil-
So the production
ticks off the reasons
shifted
focus to Charlotte.
its
Van
Taylor
why: "Charlotte was chosen because, one,
from big sleepy town to a 24-hour
a city in transition, going
ters,
the station and the community. Two, we knew about the upcom-
actions.
station
had
producer,
news
just
new
trial.
Three,
been bought.
anchor, and a
was
it
had
It
in the South.
And
four, the
new hour-long format, new
new mandate
to
push the breaking
As
in
any documentary, casting was
key.
No
matter where
News was shot, the news director would be a central

acter. With the switch from Baltimore to Charlotte, the
Local
charseries
Connors
struggle
one reporter gets
Connors
realizes he's
on the
he
faces.
gleaned from later interviews about their jobs, choices, and
At
times, this forms a counterpoint that offers insights verite
One
alone could never achieve.
instance
the day that an
is
anchor, Alicia Booth, learns of her demotion to reporter.

else
story."
When
crime scene trying to get a fresh
job, but we also hear his own

From the start, the producers
made a strategic decision to augment the straight observational
footage with occasional voiceover commentary by the charac-
see
analysis of the pressures
banking center, and we wanted to show the relationship between

ing desegregation
on
murder
knew
it
story. During the moments she's waitcameraman to set up, Booth's face looks like a shade
drawn tight. Her expression could be interpreted a million ways:
stand-up for a video poker

ing for the
boredom, thoughts about dinner, concentration on her
news director who

was extremely charismatic. In Charlotte, they had Keith
Connors, a serious, more laconic Midwesterner. Though not
in Pomeroy's interview with
leading-man material, Van Taylor thinks Connors was in many
that night
ways better-suited
for the series
and what
it
was trying to show.
"Keith Connors seems from the beginning to be poised right in

the middle," he says. "He's got to respond to the pressures from
above and below, the pressures

ting
it
to
work
as a business.
for
good journalism and
He's the kind of guy
for get-
who seems
No one
not even the crew that was filming her doing a
yet,
took a very different turn, even before an inch of tape had rolled.
In Baltimore, they were dealing with a black
foil.
go harder
pushed them too hard.
We
lions, literally.
it's
faster in search of
in
bomb
aluminum
do
WMAR,
of shooting at
first
another
with news of a
that turned out to be a
driving to Baltimore for their
through-
of the narrative
News offers. In the first episode, he is a calming

the newsroom when there's an unconfirmed bomb
lines that Local
day
Charlotte.
for the
series."
report at a local school.
again next week."

It's
smack
anchor
finally
Among
Booth months
opens up to the documentarians
story.
But
the former
later,
for the first time.
the subjects she touches on are the thoughts she had
about
the trauma of trying to 'be yourself as an
anchor, only to be rejected by female viewers.
Says Pomeroy,
use.
There
is
"We
fought a
lot
over
how much
a question of
is
how much
voiceover to
How
too much.
far
the verite play without the intrusion of the voiceover?"

Taylor adds, with a laugh, "There's a lot of blood
room floor."
The filmmakers
say they sometimes felt themselves
into the limits of this
the verite approach
Van
on the
can
Van
editing
bumping
documentary form. "The disadvantage of

a
is it's
helluva lot harder to
Taylor says. "There are parts where
know
tell
the story,"
certain
mem-
bers of the audience get confused. If we could have just brought

in a narrator at those points, that
would have made our
lives a
lot easier."
They didn't stray too much from verite because oe their

view that the benefits outweigh its drawbacks. Van Taylor, tor
one, has chosen this approach time and again, in 99 1 *s Dream
Deceivers (the story of two parents who sued the heavy metal
L
band Judas
Priest,
suicide pact),
claiming their kids were mesmerized into
L
l
)%'s The
Perfect
Candidate ion Oliver North's
Senate campaign), and today's Local News, "the advantage
WCNC news
director Keith Connors, a key figure
tries to strike a delicate
and the bottom
line.
in
the film,
balance between news with integrity
is
them and
what's going on. They're in that room at thai moment," he
explains. "You want lo not put anything between what's hapthat
it
puts the viewer there, with nothing in between
pening on screen and the audience, so thai die
Ictobi
\YI
iewer ha- to son
THE INDEPENDENT
33
'How do I teel about what Pat Robertson is

what the narrator or some-expert feels about it."
But verite isn't all that Lumiere does. Another approach can
be seen in Ghosts of Attica, Brad Lichtenstein's examination of
the 1971 prison uprising that aired on Court TV in September.
This feature-length documentary tackled its subject through
out their response:
tions in the past 17 years. This full-steam schedule
saying?' not
relationships with a variety of funders including
extensive archival footage and talking head interviews. So what

defines a Lumiere Production?
"The phrase we keep using
is,
'Behind-the-scenes access and balanced investigation,' which

runs the gamut from history to verite, with very
if
narration,
Pomeroy.
at all," offers
company does
Indeed, what the

taries
little
that take the viewer
best
is
long-form documen-
deep inside a subject and
offer a
Discovery Channel,
the
HBO, and an
enabled by
is
MTV, Court TV,
TV
of public
array
sources.
Part of the reason for
its
longevity and success
indie-style penny-pinching.
When
Skaggs
is
conscientious
up Lumiere
first set
manned
1985, his 13-year-old son answered the phones and
Xerox machine.
When
in
the
Skaggs threw an anniversary party 17
Manhattan offices. "We

had wonderful champagne and food, right here, where the desks
are cluttered and so on," he says. "That's what I've always tried
to do. You know, you have two dollars, and you try to put four
dollars on the screen."
years
he held the
later,
The
affair right in his
other ingredient to Lumiere's success has been the
company's
ability to
adapt to the changing film environment
of the past two decades, mostly by shifting from fiction to

first
10 years, when Lumiere was
one-man band, Skaggs worked primarily as a fic-
documentary. For the

essentially a
tion film producer
and occasional
director.
television
Education reporter Sterlin
Benson Webber
(left)
had
of his pro-
either
on the
dramatic
childrens'
to
Many
ended up on public
jects
series
most
wrestle with her personal feel-
Wonderworks
ings about a segregation case.
on American
Playhouse.
"The
and
early '80s
were
late '70s
or,
often,
a great time for fiction inde-
pendents in the sense," says

Skaggs,
stuff
Beatrice
Thompson
the
"that
like to
kind of
do does go well
on public television. So I
would put together the
(right),
Charlotte's first black
woman
TV journalist, was ousted
money
despite community protests.
an independent
for
feature, then go to Lindsay
Law
[of
and say
unique perspective. They
did
it
God
Our
the other
The
Side:
America, a six-part
The
serCOURTESY LUMIERE PRODUCTIONS
ies
tor public
television
that delved into the
pow-
movement. They even got inside the Witness

Protection Program in Vanished, a show for Discovery in 1998.
And now with Local News, they're giving audiences an inside
view of one station's bumpy transition under new ownership and
its
reporters face.
This has been a busy year for the team. They took Local News
and Ghosts of Attica to the summer's Television Critics Association

Press Tour. "We were the only independent production company
with two projects," boasts Lumiere founder Calvin Skaggs,
also serves as executive producer of Local
Within the past
year,
Lumiere
also
who
completed
HBO
She's
Having a
that observed
the impending birth of a child from the perspective of his sevensister,
Altogether, the
34
80%
of the
20%?
me
We'll get a
and has two
to three projects in development.
company has
delivered an impressive 24 produc-
THE INDEPENDENT
October 2001
it
on
first
you
Playhouse.'"
such project was
Valentine's
Day, based on
Horton Foote
screenplay,
which American Playhouse aired in 1986. "In fact," Skaggs notes,

"I'm really one of the people who started what became a pattern
on Playhouse in its last four or five years. It financed independent

features to which it got the television rights."
Lumiere's turning point came in the mid-'90s. By this time,
PBS had pulled the plug on American Playhouse, and Skaggs
had subsequently gone through an experience-from-hell with
Fly by Night, one of the first rap films. Financed by Columbia
Tri-Star
Home
Video,
this
was a
solid
film
that
won
the
Sundance in 1993. Skaggs raised an

additional $180,000 to rerecord and remix the soundtrack. But
then the film got stuck in the middle of Columbia Tri-Star
Home Video's devolution from a financing arm to a straight
Filmmakers Trophy
News.
Baby. ..Brother, a one-hour documentary for
year-old
On
a
erful Evangelical
the personal challenges
got
theatrical release, then
can put
Rise of the Religious Right

in
'I've
money; would you give
with 1996's With

on
American Playhouse]
at
acquisitions operation.
"When
started, [the division]
had a
staff of 30.
When
fin-
ished,
had
it
came
deals from
tastic"
Any
Skaggs recalls with dismay.
a staff of three,"
distribution offers that
in
including two
nail in the coffin for Civil Rights reforms.
As
"absolutely fan-
October Films, according
to Skaggs
got
woman and
a black
mother, Benson Webber cares passion-
about the outcome. As
ately
who must not
a reporter
take sides,
head of Sony Entertainment. No answers were forthcoming, so opportunities were missed and ultimately the film was released in a mere three markets by Arrow
she has to weigh every word in her 90-second reports, carefully
Releasing. Says Skaggs, "It got the worst distribution of any film
about seeming to "push too hard"
bumped
upstairs to the
have ever had."
The
thought,
on that film and his marriage had fallen apart. "I

can't do this anymore. I'm not 28-years-old, not even
him
thing more substantive that could challenge
much
in
of
like his job years earlier as a professor
good
American
man from
white
What's more, Webber

tion of her.
in the eyes
of her news direc-
Cleveland whose interest in the case

never completely sure of
is
no wonder, given the mixed
It's
work in front of the

giving the plum assignment
praising her
entire
he's
for a
signals.
Van Taylor walked in the

on the relibefore, Van Taylor had gotten
And
receives a humiliating job
this time,
review which
gious right. Years
reeling
when
New
York from Skaggs,
1986 Katherine Anne
and
assistant editor
as a person."
now two years since

News wrapped pro-
apprentice editor there, but Skaggs thought he
duction at
It's
Webber
Taylor to teach himself what he
him
me
just cut to the core of
were
Local
Van
viewer
She says
her.
moving on to other gigs, and Skaggs had needed

someone fast. Van Taylor had only worked as an
could trust
her
leaves
the
completely deflated, "That
The Eye of Memory.
Porter:
film's editor
and
along with
the producer needed help completing the
Both the
in the final
Benson Webber
door, pitching the idea for a series
his first paying job in
day he's
roundtable on the deseg-
episode,
PHOTO COURTESY LUMIERE PRODUCTIONS
his estima-
One
newsroom. Another day
regation verdict to the blonde news anchor.
Studies had done.
Around
Not only must she
represent the opposing arguments, but she also must worry
waxes and wanes.
life
38," he says. Plus, Skaggs was yearning for something new, some-
way
fairly
tor,
personal price was even higher. Skaggs had spent two
years of his
picking a path through the political minefield.
WCNW
and
working
still
is
at
someday,' or some corny thing like that," Skaggs
news
director,
Keith Connor.
Half of the news staff,
and
however, has turned over.
think that's
Meanwhile, Lumiere has

been busy prepping the
needed
to
know.
'Stick with
recalls
said to
"I
me, and
I'll
at the elevator,
do something
with a laugh. "Cut to nine years
he's vice president of the
company.
for
later,
the station, as
you
'doing something' for him." After the two start-
ed work on the
Right
Religious
Anchor
they
series,
Alicia
said
brought in Lichtenstein and Pomeroy
Booth preps to go on
women
viewers never
but her station
air,
warmed up
series
came
time staff producers.
ing.
that
is
documentaries have dramatic structure," Skaggs
sounds so obvious. But

don't act on
I
it.
for a lot of people,
believe
"That
offers.
they believe
it,
they
once a week where

have been so much better if I'd just had
see spoiled documentaries
think, 'Oh, that could
a sense of that character's arc.

n't
if
we
matter whether
it's
have a dramatic shape.
Why did they drop him?'
And
It
does-
documentary; a film has to
fiction or
that dramatic shape has to be car-
ried by characters."
passage that
"It's terrifying,"
committed
Benson Webber,
a Charlotte native
eral black reporters.
in Local
spirit by
News
and one of the
Webber covers education
is
dedicated reporter. But in 1999, that beat
is
the reality check
trial
thrusts
it
provides at the
can provide
it
Lumiere
both because of the

start,
and because
series,
ot
at the end, particularly given the
time compression and other shape-shifting that occurs
when
five.
Lumiere actually did
a series ot screenings,
reactions going from
WCNC,
a
its
the hottest
its
Benson Webber
warm
to cool as they progressed
Van Taylor
up the
der. "Sterlin
and Alicia cried
said, 'Well,
probably
so keep
Keith said, 'Wow, that's wend.'" Belo, the
it.'
that acquired
to Taylor,
major school desegregation
subjects.
Taylor of the process. "You're antici-
Sterlin
ticket in town.
rite of
shoul-
beat that no other news channel in the city deems worthy of
own
First
way up the job hierarchy so no one would get tired

for something he or she said. The subjects' responses varied, with
station's sev-
for
the
the whole time you're filming."
increased access and trust
For this
number of weighty themes
Then came
to giving right- of- review
cutting 300 hours into
One character who embodies the Lumiere
its
Van
says
moment
pating that
feels
for broadcast.
a solid year of edit-
documentaries made by Lumiere go through: the
program's final review by
working
dering a
all
the
to her.
as full-
"The major thing that unites David and me
is
come
will
a lot,"
be tired tor
this,
but
it
WCNC just before filming started,
"Uh, we're not sine we love
to terms with
it."
lad-
recalls. "Sterlin
should be
said,
said,
company
according
But, be adds, "they've
it."
into the thick ot a politically-charged battle that will not only

affect the lives of every school child in Charlotte, but possibly
have national ramifications
this
potentially being
one more
Patricia
Thomson [pat_thomson(u mindspring.com], formerly
chiej
(>/
The Independent,
Octobei
2001
is
nou
the editor
contributing editor.
THE INDEPENDENT
35
Paul Power
by
The
Jasper, Texas, police report of James
murder in 1998 reads like a grim horAlong the two miles of blacktop
where the 49-year-old father of three was
dragged, the sheriff found his T-shirt, tank top,
Byrd
Jr.'s
ror story:
shoes, dentures and, eventually, the item that
was
to identify him,
barkened back
a black
man
his billfold.
The crime
to the days of segregation, with
chained behind
pickup truck
and dragged until his body disintegrated, and

the world was shocked by its ferocity. A slew of
international press descended
sized
up
its
on the town and
racial tensions in easily digestible
nuggets for the evening news.
JASPER
Brewer and Sean Berry, progressed. When it

became clear from the testimony that this
was, beyond a doubt, a racially-motivated
CITY LIMIT
POP., 7160
killing,
there were strong signs of solidarity
from both extremes. Representatives from

the Nation of Islam and Black Panthers
arrived in Jasper, while the
Ku Klux Klan
held a rally in the town.
"Both
da.
own
were saying, 'This
sides
How
can
I fit
agenda?' and
course
on
race,"
murder
this
it
where whites were
about
killing
was a pure
'It's
anoth-
an unarmed
man.' That's what was interesting

this
murder: Both sides agreed that
was
terrible,
why
it
happened. Or nobody was
why
complicity as to
scratched the surface,
filmmakers Marco Williams and Whitney
were deeper questions to ask, not just about
it
but nobody really understood

really tak-
ing responsibility, or recognizing their
New York-based
Dow thought there
my
Diallo killing
saying, 'This
example of racist police
black
agen-
Williams contin-
Amadou
mistake' and blacks were saying,

er
my
naturally led to a dis-
Dow says.
ues: "It's not like the
is
to further
it
I
own
happened. As we
started to recognize
the patterns, the thought processes, that go into allowing whites

to feel that black
life
town or the South, but about how all Americans

deal with race. And they had a way to dig for answers
a "conceit" as they call it
that would get behind the news. They went
Jasper's
down
blacks and whites.
in
America has
less
value than white
life."
this particular
December 1998, during the lead-up to the trials in 1999 of the three white perpetrators, to film Two Towns of
Jasper. They had an all-white crew led by Dow, who is white, and
to Jasper in
an all-black crew led by Williams,
The filmmakers
are
adamant that
approach
this particular subject,
tones that
came
is
black.
this
was the only way
his
to
John
two co-defendants, Lawrence Russell
THE INDEPENDENT
October 2001
The mayor
almost evenly
is
black, as are the executive director of the
Council of Governments
(an
Jasper's high school.
split
between
black, half the city council
and the
The filmmakers
say,
is
Deep East Texas
administrative
Jasper), the hospital administrator,
considering the racial under-
to the fore as the trial of white supremacist
William King and
36
who
7,200 citizens are
body based
in
assistant principal of
though, that the town
only appears to be integrated on the surface.

Divisions begin to
film,
when
come out during
the conversations in the
blacks and whites start off from a different place
interpreting the crime. Williams says

Nashville.
The
them
bad because
feel
it
how
the murder makes
talk to say,
that truck,' whereas blacks constantly say,
me,
'It
Williams
Dow
interview people from a broad cross-sec-
community range from
the sadness and incomprehension of the older interviewees

more vengeful tone of retribution from the younger ones.
not the
"It's
Jasper," says
man
time an innocent black
first
one black man. Meanwhile
to a
got killed in
younger black
a solution for the three convicted murderers: "Put
down
all
Renee Mullins,
is
at pains to
is
her on-camera appearance
not
it's
may come
to Jasper
that
June 1998, and spent two months
in
first,
know the town and its stories. Then Williams came

in December and they started to shoot the following month.
They spent their days apart filming and rarely worked together
in the field.
During the
know
sure the filmmakers
MacArthur and Ford founda-
the
getting to
of production,
a rabble-rousing or finger-point-
isn't
right,
filmmakers paid for everything themselves. Dow-
three of
remarkably stoic considering the brutality of
make
went down
ITVS and
by
initially
man has
'em behind a truck and drag 'em." However, Byrd's daughter,

the crime and
it's all
from, the only place to
tions, so the
Williams and
that
filmmakers didn't find funding right away. They were turned
a terri-
says.
tion of the town. Sentiments in the black
know
because you
feel
in
was
could've been any one of us behind that truck,'"
it
what you
could've been
'It
happened, but any one of us could've been
ble thing that
to say
censored. To give a sense of where that prejudice
let them do that is where they're intimate

and comfortable to express themselves."
Even with such topical and incendiary subject matter, the
could've been their kids in the dock
"The young whites you
at the trial.
Rashorrum meets
like
it's
town's whites mention
friend
helped
Williams on the lawn of the
two
the
get
$25,000 grant from

York's Wellsnring
,
ation
,,,.,,.
month
first
Jasper County Courthouse with
New
local blacks (top
Found-
left).
..
,,
Breakfast at the Belle-Jim Hotel
,
them
got
that
Jasper
in
1999 (bottom
in
left).
ing opportunity.
She
says:
"I'm not out to get sympathy from anyone.
want people
aware that
to be
this
America. This could've been me,
it
wake -up
is
Marco Williams and cameraman
just
Jonathan Weaver with Reverend

call for
Ray Lewis
Jasper (below).
in
could've been you... it
could've been anyone."
Most of the whites declare shock
at the type of
was committed, and they are incredulous that
happen
in their
community.
Yet, the
crime that
could
this
filmmakers convey the
sense of a problem swept under the town's carpet that has

festered for years
In one scene,
and exploded
Dow
is
gathering of local whites.
with an informal,
One woman
how Byrd
paper report about
in the sickening murder.
at breakfast
daily,
home
usually spent his time at
playing music, cards, and dominoes. She snorts and adds:
thought he spent most of his time in

the real crux of the film
"Bubbas in Training"
not on
lived,
how he
lies
as
if
jail."
And
this
is
"I
where
another of the self-styled
states: "I'd like
died," as
him
Byrd's
to be judged
life
and
on how he
lifestyle
somehow
would lessen the crime.

to treat the incident as
community
is
an isolated one, and one that was,
according to a white interviewee, a result of "outside influ-
The
metaphor
purity
through the
first six
is
invoked over and over again by
Black Programming Consortium, and then
The filmmakers took
haps the most poignant character in the whole piece
their
man on
oxygen,
who
is
dumbfounded by
nature of his son's actions: "You just don't
came from. He even had black
friends...
King's
know where
and
the
it all
encouraged the
association."
at
make more money
in a generation brought up in many ways by music televiwhere people don't want to talk about difference," says
May
or because you
southeast Texas, says Dow.
Public
for
to
the
Toronto Doc-
looking for the final
want
"We want
to
to
spend a
make
it
30%
of
like this to
lot oi'
time in
easier to discuss
race relations."
will air on PBS in 2002 accompaITVS outreach program, treads a diffi-
Towns of Jasper, which
cult line
their prejudice.
in
$950,000 budget. "You don't enter something
liuo
in
project
their
Hotdocs
nied by a comprehensive
"The thing was not to catch people
whopping $250,000
Broadcasting in mid- 1999.
umentary Forum
is
from ITVS and $300,000 from the Corporation
whites for the town's besmirched reputation. Ironically, per-
father, a frail
months of shooting. With some footage in

They got $25,000 from the
the can, funding flowed in after that.
Richard E. Dreihaus Foundation, $30,000 from the National
Overall, though, the reaction from the white
ences."
4%
'
reads aloud a news-
between being compelling viewing and
plex view without easy answers.
"We found
offering a
com-
editing the film that
We're
the structure wasn't a 'he said, she said' piece." says Dow.
sion
these big blocks ot black material, white material. You spend
Williams.
"We want
sequence
is
want
chat
to pretend
The approach
about
it,
we
it
to suggest that everything
don't
know how
is
fine.
The con-
to talk about difference.
We
goes away."
ot
the film, he adds,
some time
some time
blocks
is
to say,
"You can
talk
because you're talking to one of your own. You're going
of
"This
in the black
"It's
community and then you go and spend

community m\^\ you're building these
the [white]
perception as you go."

is
not a hate crimes film;
adds Williams.
"
1
his
is
it's
not a death penalty film,"
.ihnii r.ice, racism,
Octobei
2001
and difference
THE INDEPENDENT
37
ZaZII)
Frank Capra's
Sonny Bono's Copyright Legacy

to tell
work
if
public domain, Part
is
Robert
by
ANY ARTISTS HAVE
general notion
this
that
it
must he
lic
work
if
"old,"
is
should or
in the pub-
domain and they
is
careful
when
work. This reason-
You have to
dealing with source
and music
which
are
for
such
rights.
The
film
fell
into the pub-
domain when the copyright holder

failed to renew the film's copyright under
lic
the
old
copyright
Interestingly
law.
enough, the
public domain. First, you must determine
problem when
whether
while the film was in the public domain,
January
work was created before
1978 or
1,
after that date. Pre-
1978 works are covered by the
1909
stances,
material such as photographs, artwork,

text, film, video,
protect-
Copyright Act and, under certain circum-
a trap for the unwary.
ing
be
may not have once been
or
a Wonderful
ed under copyright law has fallen into the
about getting per-
own
in their
it
Seigel
L.
It's
they didn't have to pay any licensing fee
don't have to worry
mission from a copyright holder or paying

to use
may
of 2
classic film
television stations
during the winter holidays because
ly
How
which
once took
advantage of by airing the film incessant-
Life,
may be
protected for up to 95
years provided that a work's creator

plied
with
However,
lished
certain
if
renewal formalities.
such pre -1978 work was pubregistered
or
com-
with
the
Copyright Office before 1922,
U.S.
it
corrected this
was discovered
the film's music and the story
that,
upon which
the film's screenplay was based had not

fallen into the public
domain. Since the
film could not be aired without
underlying
or
story,
only
its
music
those
duly
authorized licensees of the film (as well as
music and underlying story)
its
may
exhibit the film today.

Prior
probably
it
film's licensor
to
current copyright
the
act,
to find out
protected by copyright and
other laws, meaning that you need per-
and which
mission,
are
in
the public
domain, meaning that you can
copy or use the material
One
freely
your
in
own
of
often
reasons,
including:
most notorious examples
work inadvertently
work without a third party's permission.

Works are in the public domain for a
variety
of the
is It's
falling into the public
of a
domain
a Wonderful Life when the copyright

holder failed to renew properly.
work was disseminated or "published"

before there were copyright laws
(e.g.,
King Lear by William Shakespeare); the

work's copyright protection has expired;
copyright protection was not secured or
has been "lost" by a failure to comply
with certain formalities

its
nature
tection.
is
;or
the
work by
not entitled to copyright pro-
Other works that
are not pro-
domain on January 1
Works published or registered in
1923 or later would be protected under
fell
into the public
1998.
copyright law until January
2019, pro-
1,
tected under copyright law include gov-
vided that the copyright holder had com-
ernment documents and other products,

court transcripts, titles, facts, ideas, and
extemporaneous speech (that has not
been recorded or otherwise "fixed" in a
plied
particular
The
medium); and generic forms.
when
work falls into the

public domain has always been complicated but it became even more so when
issue of
with
such technicalities as the
As
a general rule,
any
work published before 1923 would be

the public domain today.
Artists should realize that
lished
prior
to
the
in
current
copyright terms for works created
before January
1,
1978 that were
under copyright protection
for
still
an addi-
tional 20 years.
artist
38
THE INDEPENDENT
can determine
initial
1978
if
if
One
October 2001
work
last
work
year of the
fell
initial
term.
If
into the public domain.
of the most notorious examples of

falling into the public
domain
1,
1964 but not
manner would
their copyright protection at the
is
lose
end of
the initial 28-year term.

the sub-
sequent Copyright Term Extension Act

in
1998 have helped copyright holders of
works covered under the 1909 Copyright
Act
to
have a second renewal term that
was extended from 28 years
to
an addi-
tional 67 years for a total of 95 years
Another key
the work's copyright holder renewed
during the
guidelines,
work that
28-year term, such work could
be protected for the second 28-year term
not, the
Under these fundamental

an
the
in a timely
automatically.
their copyrights
The 1978 Copyright Act and
works puh-
consecutive terms of 28 years each. After
the
renewed
renewed
Extension Act
October, 1998, initiated
copyright
its
Meanwhile, works with

secured before January
Copyright Act were protected by two
in
which
would permit any work under copyright
protection after January 1, 1964 to have
work, or renewal of the copyright in a

timely manner.
clarify this situa-
tion by enacting legislation in 1992
placement o( a copyright notice on the
Congress passed the Copyright Term

by the late Sonny Bono. This extended
Congress attempted to
factor that a
mediamaker
should consider before using a work that

is
covered by the 1909 Copyright Act
is
whether the work was ever published or

otherwise disseminated in a general man-
ner.
Before January
1978, unpublished
1,
works
Upon
the 1909 Act.
is
now
for
unpublished
these
for the life of the
author plus
would
lished work's copyright term
publication, a pre-
1978 work was then automatically pro-
December
until
31, 2002. If the
lished work,
espite the savings in licensing fees that
may have by
domain
using public
book The
ing to Stephen Fishman's
&
would
if
Use Copyright-Free
work
is
Domain:
Public
Writings, Music,
Art
How to
&
More
Regarding works
domain:
in the public
but
published from 1923 through 1963 in the U.S. and
initially
or
after
January
1,
1978,
such works
are
now
for
the
were not renewed under the 1909 Act are in the public domain.
3.
Foreign works
those works
(i.e.,
first
years.
domain.
D.R. REIFF
protected
70
plus
there
If
& ASSOCIATES
of the
life
author
published outside the United
States) published before 1909 are in the public
not
on
published,
All works published in the U.S. before 1923 are in the public
Works
years,
until
2047.
domain.
2.
no later
than December 31,
or
created,
1.
last for
an addition 45
(Nolo Press, 2001), there are four general rules to deter-
mine
December
consider the rules concerning such
will
works to be arcane and mind-boggling. However, accord-
Find
ENTERTAINMENT
MOTTO:
lished work's copy-
many
right
mediamakers
unpubhowev-
2002, the newly pub-
mediamak-
materials,
last
were published
er,
before
ers
SURVIVAL
70 years. In general, a pre-1978 unpub-
and not under
state copyright laws only,
term
copyright
works were automatically protected by
are
two or more auth4.
Foreign works published from July
1909 through December 31,
1,
who
ors
1922 with copyright notices are in the public domain.
work,
joint
can
also
work
ing whether a
facilitate the process of
in the public
is
determin-
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its
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If so, when was

Where was the
registered with the U.S. Copyright Office?
the
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work
registered or
first
published?
such works, whichever expires
work created or published?
first.
work be
copyright expired?
the public
in the public
If so,
domain due
when
did
domain? Has
it
expire?
Is
design, editing and mixing
recording,
Original
ADR, and
foley
music and sound effects
Non-linear video editing
Streaming media services
Until 1989, works
Why would
Sound
VO
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published without a
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into
to a lack of appropriate copyright
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Alan Berliner
notice or a failure to renew in a timely manner?
public
the
The Sweetest Sound
domain upon
publication.
When
FAIRness
& Accuracy in
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Counterspin
the U.S. joined the

tected under federal copyright law and
international
any state law protection ended.
copyright
The
1978
Copyright
Act
things so that any unpublished
ated in a fixed
medium
on
cre-
paper,
was
notice
were encouraged
artists
world on notice concerning
the
ownership
of a work). Still
if
copyright protection and the concept of
was omitted
in error
The
required
(although
should note
state copyright laws ceased to exist.
not
place
1978 received feder-
film, or tape) before

al
(e.g.,
clarified
work
Berne Convention, such

to
between January
1,
Trembling Before
Robert
Clift
G-d
& Salome Skvirsky
Stealing Home:
The Case of Contemporary Cuban Baseball
mediamakers
a work's copyright notice
on
Lynne Sachs
Investigation of a
Flame
work published
L978 and March
MERCERMEDIA.COM
I,
October
AVI
THE INDEPENDENT
39
1979, such work might not have fallen

into the public
I
9Bsn
'
4fe-
/fYT*r*'
I1Far
education
domain
if
the work's copy-
right holder rectified the error in a time-
manner under
ly
the current U.S. copy-
right law.
Mediamakers
also should note that the
Copyright Term Extension Act does not

provide retroactive copyright protection
1 Vancouver
film
school
Jff
%.'-,-&::- v.;
--
l^ll m
new media
film
^^B
writing
acting
Ifl&Afl
v<
fallen
into the public domain. Therefore, works
that have fallen into the public
due
pre-March 1989
to a
domain
failure to affix
an appropriate copyright notice to a work

or a failure to renew a pre- 1964 copy-
K]
works that already have
to U.S.
i^^l
^^B
!*kJCl
1923 would
before
public
remain
still
the
in
public domain.
On
the other hand, artists should be
when
using works that have been
created outside the United States.
such international trade
BfV'iii^H
the
in
domain. In general, any work published
careful
animation
remain
work,
righted
Due
to
treaties as the
General Agreement on
L^,B
1.800.661.4101
^^B
604.685.5808
Tariffs and Ttrade

North American
Foreign Trade Agreement (NAFTA) foreign works that had fallen into the public
domain in the United States had their
www.vfs.com
copyright
(GATT)
and
the
protection
restored
lished in the U.S.
1996.
in
However, such works cannot be
first
pub-
and must be subject to
copyright protection in their respective
DIGoIT
"source"
country.
Mediamakers cannot
use such foreign copyright restored works
without a copyright holder's consent.

In Part 2 of this article
will discuss the
work that mediamakers

their projects which the
various types of
DIGITAL FILM FESTIVAL
may
use
in
mediamakers may believe erroneously are

in the public
may have
the
FIRST flNNURL
domain. Such mediamakers
to deal with
copyrightability
such
of
"pitfalls" as
adaptations,
"works-for-hire," derivative works

films, television
(e.g.,
programs, or plays based
PRESENTED BY THE WALKER ART CENTER

AND THE MINNESOTA FILM BOARD
on public domain works) and compilations of public domain works. In addition,

mediamakers now have to consider
SCREENINGS
WORKSHOPS
LECTURES
whether a public domain work may be

protected legally under a non-copyright
theory such as trademark law and the
right of publicity.
OCTOBER 24-27, 2001

MINNEAPOLIS
Robert L. Seigel (rseigel(Q<DSBLLP.com)

is
NYC entertainment attorney
partner
in the Daniel, Seigel
LLP law firm, which
TICKETS/INFORMATION;: 612,375.7622
specializes in the rep-
resentation of clients in the entertainment
and media
40
TH.E
INDEPENDENT
October 2001
and a
& Bimbler,
areas.
(^
jfjrfjii -^.!_J--J:_U
=)
the cost over dozens of programs.
tize
Leapfrog
Reading Between the Lines
and V-chip
tive television links,
Robert Goodman
There
ratings.
two versions: CCaption-DV
are
($395 Mac)
and CCaption-NLE ($745
The
Mac/Win).
You've finished your film. Your friends
have seen it and given you feedback.
You've
made
The
the changes.
fine cut
Control
done, and so are the audio mix,

credits.
Time
reread the
list
of deliverables
and
distributors
all
pro-
Duration
0DV Offset
And, very
Data:
nonlinear
captions are those
Reset
line 21 of the
on
are inserted
video signal, at the place
just prior to the start of visible picture
information. Every receiver manufactured
FCC
since 1993 has a built-in decoder. Per

ruling, every
|00:0l:00:O0~
Save as various
three
"Paint-on"
styles
Targa
CCaption-
(Mac)
v5.0
kinds of closed
as:
captions with
Welcome^
CCaption, and
to do?
What do von want
filmmakers can
save hundreds of
fireWire for its
dollars per hour of
put captions o
film.
, tline
sis^Kk
^v::z
.._-:.,.,*
video input
,ov,e.Use
comp,,,er th
^Trifk
rtl
-movie,
**- Use
ne
a QuickTime
is
q
"
version
encodes captions,
tor
>
option
movie, use this
, yolirrvideo.
tive
"
oution a single
V''"
open caption
each
duration
O Make the
open captions.
g Make multiple frame
The
(Win).
ATVEF
of
NLE
v3.4
*nrt output-
making
and CCaption-
Windows
..-JSSSSSii------'-
rtheWeb
delivered ovei
Qllltktll
ui a q
Make open captions
open captions >>'<<
to
captioning
tested
NLE
prior to 1998 are exempt.
have
Pinnacle
or
boards.
cuitosh HO
tioned by 2006. Only programs produced
choose from.
K>
3 Macintosh
Save
as
Media 100
or those based on
Matrox DigiSuite
Avid,
Verify
program must be closed cap-
Filmmakers
such
systems
File:
simply, closed captioning
The codes
and
editing
00:0I:00:00~|
Pro, Premiere,
Verbose
what
the process of converting text to elec-
tronic codes.
Cut
with
(Final
Cinestream)
on the screen, while

closed captions must be decoded to be
seen.
Mac software
closed
of
captions to have.
that always appear
is
compatible
Enter Values
00:00:00:00
or
are
what kind
O OF NDF
lime Code
words into written words, allowing deaf
Open
00:10:00
Offset
95
Both
lets a
Captions are translations of spoken
they can't hear.
00:00:00
1
Time Code
to read
window
higher.
filmmaker decide
QDelayValue
grams must have closed captions.
and hard-of-hearing people
CCaption's control
Parental Guidelines
Include Program Information
networks.
detail that
little
Windows
O Paint-on O RU2 O RW O RW
Current rating: TV-PGS
demanded by
television
There you spot the
higher or
or
7.0
Window
Include Content Advisory Information
once you've
celebrate, right? Absolutely,
Mac OS
Input from:
Caption
champagne and
to break out
Window
Caption Mode
Pop-tip
and
titles,
requirements are
minimal:
0fake
is
it
a nonlinear edit-
ing system to add closed captions, interac-
Closed captioning doesn't have to cost a fortune
by
makes
software
anyone with
possible for
CCaption
Production's
[www.ccaption.com]
caption
R""-"^
description Hie.
interac-
TV
triggers,
and program
ra-
ting information.
this optic
a,Text
Generate a
RealVid
that woik witn
making captions
It
captions usmg a
adding closed
OuickTimeuiovie tor
size.
prepare a QuickTime
, ram e
supports a /2U ^ B6
that
system
NIC
.,< using
is
able
not
for
availfirewire
used for some commercials,

often. The
"roll-up"
continuously,
is
but not
used
typically
for
version adds Text
live
Track captions to
QuickTime
programming. Documentary films often

use the "pop-up" style,
which
displays
captions for a specified duration at a specific location.
For
all
is
the locator.
to four rows of captions
tioned
anywhere,
Two
can be posi-
though
most
are
placed near the bottom.
when sound
especially
as the
There are
timed in-place captions
and disappear
person begins speaking
after the
viewer has enough
time to read the caption.

present
difficult
The pacing can

It
may take
choices.
longer to read than to hear
some
lines,
WGBH,
at
are generally timed to appear immediately
when
services,
the
such
which
handle the process from writing captions
$900
prior to
both the
National Captioning Institute or
Sound effects and spoken words are usually included. Captions
sents challenges.
is
technical process of encoding .and

craft of writing.
to
encoding them on video. Expect

to
to pay
$1,200 to have someone write

for
one-hour
(56 minutes) documentary. Encoding
approximately
recently,
using
these
hardware
is
$250
to
$300.
is
Until
producer's only option was

services.
movies, RealText captions to RealVideo,

generates open caption image
Hence, closed captioning
Media Access Group
Creating timed, in-place captions pre-
convey
effects
important information.
of these, the master
time code of the tape
The Mac
software.
which runs
style,
Close
captioning
expensive unless you amor-
decodes closed captions
The NLE
files,
version works with nonlinear
editing systems and firewire.
version
and
in digital video.
is
DV
only.
The
The
test
DV
systems
a Mac G4 and
Windows with a full
were Final Cut Pro on
Speed Razor
for
DigiSuite card.
Using CCaption
You have
is
a multi-step process.
to edit the
program, then write
captions and compile a timecode
when
tive
is
captions are to appear.

to
have
An
list
of
alterna-
service prepare the cap-
CCaption can process ASCII files

from Cheetah System's Captivator or
tions.
October
AVI
THE INDEPENDENT
41
a
AVID at DIVA
24
Computer Prompting
Company's CaptionMaker
which are commonly used by
als.
CCaption uses
encode the captions
to
into your program. This description
mid-town
includes
hr building
command
AVID 1000/AVR77
and program
Lines that begin with a single asterisk
commands. Two astercomments that are ignored

during encoding. General commands conare recognized as
isks indicate
Easier for editing
trol
drop or nondrop timecode, insert
interactive television links,
to help
bered, such
*PG
as:
of the cost of going
V,
through Intermediates.
which
rating
S1 B/1
Bmm/35mm Answer
AVID
Prints Contact
or Pin Registered
S16/16mnV35mm Intermediates Contact
S16mm
35mm
to
to
Digital
tO
Low Con
Prints
35mm
16mm Blowdowns
S1 6/1
6mm Blowdowns
Media Composer 10.0

Full-time Support
Seruices
Film Recording to S1 6/1
Video to SIB/16 or
CGI to S1 6/1 6 or
Digital Titles
6mm
or
24 Hour Edit Suites

3D Meridian AVIDS
35mm
35mm
Scratch and Dust Removal
RADICAL AVID
42
BROADWAY
[email protected]
1133
212-563-9388
(212)633-7497
115 W. 30 STREET, SUITE 302

NEW YORK, NY 10001
THE INDEPENDENT
October 2001
is
to
sys-
output
caption information source and set the

ratings. If the cap-
coming from a description file, you should check its integrity by

using the software's "verify" option and an
tion information
is
need
If
the caption
will
indicate
any
fixing prior to processing.
file is
correct, the next step
combine the movie with the captions. You name the file and press enter,
and suddenly a new movie is created.
is
to
If this
movie
is
is
for Internet streaming,
complete. However,
if
you
need to output to tape, you must import

the new movie into your editing program.
You do this by placing the CCaption file
and Effects to S16/16 or 35mm
Digital Repair,
DV-based editing
step
program duration and
the process
35mm
and
audiences,
QuickTime movie from your editing program and launch CCaption. A control
window appears with a pull-down menu
and check-box selections. Choose the
lines that
S1 6/16/35, Pin Registered
next
the
as the
as the television
display this thirty seconds
information window
or
Pin Registered
S 16/1 6mm BIOWUPS
general
for
you're using a
tem,
RADICAL
"Stone Reader"
and "G"
title
CCaption will
from the head.
It
Film Seruices
Stone Reader
will display
program's
Name
Rating
*TC 01:00:30:00
Edit
1-800-324-AVID
330 W 42nd St NYC
for a fraction
rat-
and program information. The commands are in English and easily remem-
Direct Blouu-up prints
16mm
set cap-
ings,
*Program
DIVA
and
directives control
caption style and position, program
other independents
from 16mm or Super
Other
tion locations.
As lone-fime
AIUF members
is
rating dis-
plays.
Newly reconfigured
our goal
file
directives to control
the appearance and content of captions,

interactive links,
-**
software,
profession-
you write the captions yourself,

need to create the ASCII file
If
you'll
large rooms
with a view
in
E)
& Captioning
on the timeline and output it to tape.

The NLE version uses a different workflow. First, you open CCaption and verify
the description
saving
it
as a
file.
Next, process the
QuickTime
or
file,
AVI. The cor-
depends on the
setting
rect
digitizing
SON VIDA PICTURES
board in your nonlinear system. Then,
you import that
file
tem and place
on
Use
it
few
2D DVE effect
from the
lines
gram and superimpose

ground
file
original pro-
over the back-
it
created with CCaption. Then,
The Mac verwindow
render and output to tape.
CCaption-NLE has
sion of
feature that lets you type
a text
on
a representa-
PICT
files for
utes.
did not test this feature.
How
five
min-
perform?
The
programs under
CCaption
did
212 242-9585
and create sequential
tion of the screen
UNION SQUARE WEST

NEW YORK CITY
video track.
a separate
a picture -in-picture or
to crop a
41
into your editing sys-
program with
instructions for using the
our DigiSuite system were incomplete.
Canon
Leapfrog Productions has had minimal
After Effects 5
experience using their program on the
Sony PD1 50/1 00 Beta decks

Cut Pro
Matrox
Nextels Denecke
AnHioJjrj^ Mackie Quicktime Photoshop 6
Windows
platform.
how
make
to
it
HHB SQN
The company put me

who knew
work.
ênnheiser
Selecting the DigiSuite code renders a
DigiSuite
Razor, you import that
background
Pinnacle
file
Then you
ite
fustrator 9.0
look at the compos-
output of the DigiSuite board on an
NTSC
monitor
Boris
mode.
underscan
in
eight
marks
You
lines.
will
see
in
MPEG-2
hash
white
the encoded captions
under-
Comteks
scan mode. Render the timeline and out-
DigiSuite's
fer the
full
encoding.
It's
Neumann
The
DigiSuite board.
2D DVE
Lipstick
Nagras
DVCAM
cameras
Digital
still
cameras
Lectrosonics
doesn't always transa driver issue. If
Hello \A/orld
you
don't see hash marks after rendering, use
- -
the background with your program.

instructions for the
DV
im
:<zz> r r
crop effect or Boris Effects to combine
The
Pagers
Discreet edit*
put to tape. There's a quirk with Speed
Razor and a
Canon GL-1
Red
Century Precision DigiBeta MiniDV
Create a wipe revealing the top seven or
Cobra Cranes
Sony VX2000
Bogen tripods
'HS decks
onto track one and place the program on

track two.
Green screen
)imbustion
Windows (VFW) rather than a

AVI file. To fix that in Speed
video for
3/4"
Final
with a customer
in contact
XL-1
_i r~
118 West 22nd

212 243-8800
version
r-Ei*
Street
NYC
@hwc.tv
were correct and the process was simpler.
However, rendering a QuickTime file for

CCaption is required. Processing in
CCaption is fast, while rendering in
QuickTime and importing it requires
considerable
CCaption
is
time.
Despite
good value because
On an independent Film Budget?

Relax and
tall
this,
it's
less
expensive than the cost of closed captioning one
program or encoding two

offer expertise in selecting the best digital video solution for you and your budget We have
We
hours of video.
Robert
Goodman ([email protected])
an award-winning writer and
Emmy
is
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come
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ol our
Schwaid
for more information on our Apple Final (Ait Pro 2.0 bundles at 212.604.9999 Vt.r Hands-on
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Point of
Special thanks to
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Productions for providing
test editing
systems.
rK8fflJW6^
212.604.9999
S2S West 23rd Strcet'NYC, NY* L0011 www.novaworks.com
Octobei
200!
THE INDEPENDENT
43

HARVESTWDRKS
Media Arts Center
Digital
THE EDIT CENTER
DIGITAL AUDIO
VIDED
MULTIMEDIA
Become

in
Small Cusses
&
Tutorials
protools
cutpro
final
photoshop

aftereffects
web design
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flash
Program
can ror
sensors
Production Studios
24-bit protools
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media IDD
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pro
multimedia cd-rom
Beta
dv video
web design
For Information and Entry Form
download
from our
the Entry
Web
PDF
Artist-In-Residence Program
file
site at
www.ttpix.org
or
call
or fax us:
)__(
505.751.0637
&L
#602
596 Broadway,
2
12-43
l-l
SoHo
in
30
www. harves tworks.o

info
rg
@ harvestworks.org
fax 505.751.7385
EARLY BIRD
DEADLINE:
NOV.
15,
2001
DEADLINE:
JAN.
This project
possible
New
in
is
5,
made
part by
april
Mexico Arts
1J
2002
a division of the
f-Mi / VJUD
VIDEO/AUDIO POST
AVID
Office of Cultural
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11-14
and the
National Endowment
A Delta Air Lines

Official Air Line of
Taos Talking Pictures
for the Arts
Mipjgm
ooklyn
>
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PRODUCTION & POST

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Editing
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ROM MANHATTAN
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/^_j_,^)
(j_3*Jl=yjfj:
Scott Castle
by
feature, short, student. Awards:
Formats:
we recommend
$500.
of
45 min.
$50/ $60
$25/$35
ture,
over 45 min.). Contact: CIFF, William Guentzler,
(short,
or less);
(fea-
OH
Associate Producer, 2510 Market Ave., Cleveland,
44113; (216) 623-3456;
COMMUNICATOR AWARDS,
Deadline:
TX.
16
Nov.
ors excellence
[email protected]
&
as internal
Domestic
medical,
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a
wide variety
of
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film
Thomas
nationwide
of settings
Fest founded
video."
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the world's
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imental,
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Awards
$37.50.
Works
Citation
super
1/2",
30 min.
Media
Preview
$35
fees:
or less);
30-70
BMFVF
Contact:
16mm,
8.
Entry
(features,
umbus,
$1,000).
35mm,
VHS.
(shorts,
Choice
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Formats:
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Fest
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Awards: Best Short & Best Feature. Formats:
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$30 features
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CA 90027; (323) 876-2649;
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open
Nov. 20. 14th annual festival
is
one
TX. Deadline:
of the largest
diversified video tests in the U.S., providing a

for
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Over 250 screenings, plus installations, computer-based

exhibits,
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discussions,
workshops
for adults
showcase
Awards given
on Super
8.
filmmakers
common
the
in
inspired
plight
alternative
same
and
position
him
to
5:
PHILADELPHIA INDEPENDENT FILM
in
media
create "an
entries
encourages student & professional film &

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Ohio's
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from mainstream
controversial,
Festival
Presents approx. 80
tures from
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to
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in
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collected
selected films,
from around the corner & around the
After three
Park
DVD-fo-
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festival.
Last
year's
event
even
to
people
turn
away from
w/ filmmakers,
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now
that
and handbills, No Dance continues
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other guest
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Awards: $1200 awarded
experimental,
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Deadline: Oct. 9. Festival
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participants.
Submissions must have been completed
orders.
Filmmakers
weekend
after Jan.
15-16. TX.
looking for features
1,
3/4". 1/2",
Formats: Beta SP preferred;
CD-ROM,
digital video,
will
accept
S-VHS. Hi-8, Web, for
2000 & not previously submitted. Works-in-progress not

extra $5. Preview on VHS. Entry Fee:
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of
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out of the mainstream. Awards: 1st. lowrider bike: 2nd.
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teacher Barbra Aronofsky Latham. Rental fees paid to

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571105, Tarzana, CA 91356; (215) 701-4620: (818)
the joys of DIY-promotion with the Golden Orbs
Award going
16mm.
3/4", 1/2", S-VHS. Beta
$25
Park City police have cracked down on posters
gift certificates, Philly
Formats:
etc.
Formats: VHS.
discuss
critics
60 min.).
genre. Awards: travel, tickets, t-shirts.
become
only
(over
dent, feature, doc, short, any style or
a condo
in
feature
60 min.), animation, experimental, stu-
humble be-
its
& videomaking
film-
narrative (under 60 min.), doc (under
event has emerged
from
to
Cats:
world.
the
installments,
doc,
films
talent,
giving audito
expose
was born.
genre,
ences opportunity
promote &
to
Philadelphia
site.
programs. Film forums follow
to
&
Multimedia Festival
videos to run on
in
Ph illy
is
& videomakers
to bring together film-
exhibit
had
fea-
work,
of
a competitive,
in
the
Venice enjoy No Dance's hospitalty.
is
event.
around world
shorts presented
genres
all
No Dance Film and
text, etc.)
various cats
to exhibit
casual atmosphere. Fest's mission
(early);
premiere film
underground alternative
event whose mission
Ron Jeremy, Corbin Bernsen and
FESTIVAL, March 14-24, OH.
(final).
Deadline: Nov.
multi-
Fest also accepts multi-
their
and the
alternative"
Preview
8.
8ME; eightmillime-
content restrictions.
the
to
broadcast.
terextravaganza@ yahoo.com
&
videomakers at
or
he met other
travelling
in
for
each catagory. Formats: super
in
Entry fee: $10. Contact:
cash,
30
compilation
of"
"best
or
No thematic
ple areas.
Sundance and Slamdance, James Boyd turned
may
tapes. Films
2000. May be shown
earlier than January,
15. Festival
FILM
31
VHS
presented
simultaneously
was turned down by both
to the Internet for solace. There,
City's
Nov.
a reel, no
be of any length. Work must have been completed no
FIRSTGLANCE
are
Super-8 film &
entirety on
it's
in
must be submited as
& VIDEO FESTIVAL, March 25-29, CA.
to
Oct.
showcase & com-
Nat'l
student & professional artists. Work
to
must be completed
DALLAS VIDEO FESTIVAL, March 14-18,
restric-
film
CA.
11.
795-4949;
fax:
children
his
fax:
www.film-
[email protected]; www.communicator-awards.com
WON'T DANCE, DON'T ASK ME
www.neobmff.com
Deadline:
$35 features. Contact:
876-0939;
petition
panel
ginnings
INT'L
shorts,
making w/ the Super-8 format.

76013; (817) 459-4011;
applications,
After
Beta
DV,
DVD. Entry fee: $20 shorts,
S-
West Orange,
[email protected];
CLEVELAND
or
DDCF, c/o Filmmaker's Alliance, 4470 Sunset Boulevard
of
NJ 07305; (201)
City,
installation.
work must originate
All
a digital format. Cats: feature, short, music video,
Col-
203 West Side
200-2043;
or genre,
in
min.).
Arts, Jersey City State
College,
style
Jurors'
(share
(share
3/4",
Contact:
Arlington, TX
of inventive, inci-
narratives that explore the possibilities
Deadline: Oct. 26. Festival celebrates the art of film-
screened at over 50 venues
Choice
Jurors'
Works (share $2,500);
$2,000);
any
music video,
student,
be up to 70 min.
incl.
Works
TV,
media,
3-1/2
previous
w/ strong
EIGHT MILLIMETER EXTRAVAGANZA, Nov.
throughout U.S. & Canada. Entries must have been completed
11-13,
Jan.
Festival seeks
(late).
VHS, Beta, Beta SP DV, DVD. Preview on VHS. Entry fee:
provocative work of any style or
Featured works
children,
news,
broadcast
videos,
feature, doc, short, animation, exper-
youth
terrain
picture medi-
No category-related
any combination
music
Awards: Certificates awarded. Formats: 3/4",
honor of
in
film studio, the Black Maria in
tions. Fest looking for
genre.
in
in
& advocate excep-
who developed motion
A. Edison,
um & whose
NJ,
media, reach audiences
achievement that expands the expressive
external communications, government,
religious,
cable TV
family,
tional
commercials, corporate videos, & TV
nj.
reward compelling new
ind.
in
productions. Over 200 catgones under headings such
Deadline: Nov. 20. Festival seeks to "identify, exhibit
Ave.,
999-8998;
fax:
DIGIDANCE DIGITAL CINEMA FESTIVAL,
of the evolving digital aesthetic.
Awards program, founded by video professionals, hon-
jan.,
999-8999;
(214)
[email protected]; www.video fest.org
films
for jan/feb issue),
black maria film & video festival,
TX 75208;
623-0103; cfs@cleve-
fax:
entry fees, deadlines, formats & contact info,

to:
Dallas,
landfilm.org; www.clevelandfilm.org
send
Woodlawn
Contact: DVF, Bart Weiss, director, 1405
CA. Deadline: Oct. (early); Nov.

1
Cash awards
Beta SP Preview on VHS. Entry
fees:
to cover date (nov.
35mm, 16mm,
official entry
All
fee:
$10 cash
no checks or
selected works get a free t-shirt. An
form must accompany
download from Web
8039 Callaghan
only,
Rd.
site.
all
entries; avail, for
Contact: GSVF.
#611. San
Adam
Rocha.
Antonio. TX 78230.
(210) 885-5888; [email protected]; www.safilm.com
Cats: narrative, experimental, animation, doc,
the
Video
Assoc,
of
Dallas);
$30
(non-members).
Octohei
2001
THE INDEPENDENT
45
-jaa-jrs-sZZ^)
IFP/MIDWEST FLYOVER ZONE SHORT FILM FESTIVAL,
Nov. 16-17,
screened
ontext
cSTUI)JOS
Annual
10th
the
at
Independent, off-beat, underground, genre, cutting-edge,
be
experimental, classic, controversial, hard-to-find, student,
IFP/MW Independent
low budget, animation, short films, anime, etc. Cats: any
will
Filmmakers Conference. Films must be 30 min. or less &
style or genre.
must have been produced by IFP/Midwest members
entry fee. Contact: Schlockfest, Box 65955, Washington,
produced
or
the Flyover Zone (defined as the area of the
in
between NYC &
U.S.
2 stages
Deadline: Oct. 19. Chosen films
IL.
LA), or by
filmmakers who reside
or
DC 20035;
Deadline: Nov.
mental, animation, comedy. Awards:
"Best of the Fest" honors
for
All
each
in
films
compete
cat.
Formats:
&
35mm, 16mm,
Beta SR Preview on VHS. Entry fees: $25;

Terra
Rm
Congress,
505, Chicago,
60605; (312) 435-
IL
images
LESBIAN LOOKS,
AZ.
Feb.,
stage rentals
lengths. Fee paid for
& B/W
tist bio
Preview on
tape duplication
production office
Deadline:
15.
Festival
& mixed-genre work
works screened.
all
w/
entry.
VHS (NTSC
only).
still(s)
Nov.
Formats: 3/4",
No entry
of
all
synopsis, ar-
Incl.
16mm, VHS.
fee. Contact: LL.
Beverly Seckinger, Media Arts, Harvill 226, U. of Arizona,
AZ 85721;
Tucson,
621-1239;
(520)
621-9662;
fax:
[email protected]; www.arizona.edu/~lgbcom/
lighting
&
grip packages
NO DANCE FILM & MULTIMEDIA FESTIVAL.

16
UT. Deadline: Nov.
Artists
festival is
based
Park
in
Dec. 16
(early);
City,
in
Williamsburg
screens
script,
North 12th Street Brooklyn, NY
is
a project of
a Chicago-based, nonprofit org
distributes films
&
of older adults.
All
videos that promote
must have
entries
www.contextnyc.com
&
digital
filmmaking &
competition films on DVD. Cats: doc, feature,
all
animation, music video. Awards: Grand
short,
& Golden Orbs Awards. Formats: DVD.
Audience,
Jury,
718.3 84.8 3 00
Alternative
(final).
of
$500
foreign
prizes
in
doc,
awarded
in
student.
Formats:
is
short,
SP
3/4", 1/2", Beta, Beta
IL
Dir.,
total
16mm, 35mm,
DigiBeta, DVD. Preview on VHS.
$35: $25 (student w/
Entry fees:
Sheila Malkind,
5 cats: visionary, doc,
9848
60643; (773) 881-6940;
ID).
Contact:
SIFR
Winchester Ave., Chicago,
S.
881-3368; siff@terra
fax:
nova.org; www.terranova.org/fest/FestivalFset.htm
SOUTH BY SOUTHWEST FILM FESTIVAL, March
Jan. 11-18,
Utah during Sundance. Fest
caters to first-time filmmakers
Located
Inc.,
English language audio track or subtitles. Awards:
seeks narrative, doc, exp.
IL.
1825; fax: 435-1828; [email protected]; www.ifp.org
rehearsal studios
video editing
&
that produces
10,
celebrate the lives of older
issues of aging. Fest
Nova Films
$20 (IFP/Midwest members). Contact: Rebekah Cowing,

E.
&
videos that honor
positive
&
25-May
April
9th annual festival screens selected
1.
& address
adults
33
recording
$100. No
prize,
(202) 736-1732; www.wpfs.org
SILVER IMAGES FILM FESTIVAL,
films
$150; 2nd
prize,
are originally from the Zone. Cats: short, doc, experi-
48x44 with eye wall

30x24 sound stage
Awards: 1st
8-17.
&
TX. Deadline: Nov. 16 (early); Dec. 10 (final). U.S.
independent film & video fest

over 200 shorts
&
&
int'l
conference showcases
features for audiences estimated at
30,000 over 9 days. Entries must be completed
2000
in
2001 & must not have previosuly screened
or early
in
Austin, TX to be eligible for consideration. Film confer-
ence kicks
off
the event, featuring four days of panel dis-
Preview on VHS. Entry fee: $30. Contact: No Dance,
cussions geared toward working film & videomakers as
James Boyd,
well as screenwriters, as well as screenwriters, aspiring
fest director,
CA
Beach,
90254:
703
Pier Ave.
#675, Hermosa
boyd@
937-6363;
(310)
&
professionals
3-day trade show
aficionados.
equipment & service providers,
nodance.com; www.nodance.com
the latest
PORTLAND INTERMATIONAL FILM FESTIVAL,
in
film
&
digital
incl.
editing suite,
&
video technology. Cats: feature, doc,
Feb. 8-
experimental,
music video,
animation,
doc,
short.
25, OR. Deadline: Oct. 30. Noncompetitive festival focus-
STUDIO
Awards:
new work from
es primarily on
4 J
outside the U.S.,
Narr.
Feature, Narr. Short, Doc. Feature, Doc.
but
Short, Anim. Short, Exp. Short,
American features, docs & shorts included. Fest screens

Awards. Formats:
nearly 100 films from over
30 countries. Cats:
feature,
experimental. Awards:
Best of
Music Video, Audience
35mm, 16mm,
Beta SR Preview on
VHS. Entry fees: $20/$25 (shorts); $30/$35 (features).
T*F:(212)254-1106
E:stud
o4|@mindspnng.com
animation,
doc,
short,
Fest,
Audience Award
Contact: SXSW, Angela Lee,
'v
(for
&
both feature film
TX 78765;
Austin,
Best
New
Director Award. Formats:
35mm, 16mm,
Discreet logic's
NW
Film
97205;
edit*plus
1219 S.W. Park
Center,
221-1156;
(503)
OR
Portland,
info@
294-0874;
WOMEN WITH
women
cinema,
Jan.,
Nov.
1.
directors, artists.
American
& filmmakers
independents,
&
video
world
incls.
works,
short
&
OR. Deadline:
incls.
premieres, the-
&
Festival celebrates intersection of film/video
matically linked shorts programs, as well as career ret-
music. Each yr's program
is
eclectic blend of
new &
vinros.
tage works that document, interpret
&
Founded: 1993. Cats: feature, doc, short, anima-
celebrate great
tion,
II
II
VISION FILM & VIDEO FESTIVAL, March
Minnesota youth media. Festival
After Effects
467-0737;
fax:
1-23, MN. Deadline: Oct 30. Annual fest of film
by
PORTLAND REEL MUSIC FESTIVAL,
Programmer, Box 4999,
467-7979;
[email protected]; www.sxsw.com
nwfilm.org; www.nwfilm.org
Combustion*
(512)
3/4".
PIFF, Bill Foster,
Ave.,
fax:
Sr.
&
short)
3/4", S-VHS, Hi8
Formats:
classical, opera
& new music. Docs,
youth
experimental,
artists in jazz, rock, blues, country, reggae, third world,
35mm, 16mm,
media-Minnesota
only.
shorts, animation,
SR U-matic,
DV,
DVD,
CD-ROM. Preview on VHS.
Entry
musicals, biopics, concerts, etc. welcomed. Special proFee: no entry fee. Contact: Sheryl Mousley, Walker Art
grams
incl.
film/music performances
live
&
concerts.
Center, Minneapolis,
Founded:
Cre<xte- Cyv the- comfort
ofctsprivate-
ed-it H*tte<
8mm,
16mm.
Formats-.
Beta, Beta
SR super
8,
3/4",
1/2",
35mm.
\
\
VHS. No entry
NW
fee. Contact:
Film Center,
97205;
tltc
(503)
1219 S.W. Park
221-1156;
fax:
Bill
Foster, Director,
Ave.,
OR
Portland,
294-0874;
info@
46
the East Village
.- ^^T
THE INDEPENDENT
Deadline: Oct 30. Festival
is
October 2001
berlin international film festival,
feb. 6-11,
one
of
world's top tests, w/ 9,000 guests attending fest
&
in
52nd
edition, this
is
DC
29,
an open house event, open
to
European Film Market. Fest offers participating filmall
filmmakers & accepts films under 50
mm. WPFS
is
makers hospitable environment. Fest divided

non-for-profitfilm society dedicated to the appreciation
.,
Foreign
(VHS cassettes). Now
IrtJepcflJerit
fax:
Germany. Deadline: Nov. 10 (entry forms); Nov. 20
SCHLOCKFEST: THE WPFS PSYCHO AWARDS, Jan
In
55403; (612) 375-7615;
U-matic, DV. Preview on
PRMF,
nwfilm.org; www.nwfilm.org
Pti'ccJfct
MN
375-7618; www.walkerart.org
n.
Meg- Hartley, Editor
1982.
into 7
of:
sections, each
w/ own character &
organization.
Int'l
(J^J^ZS)
& unreleased 70mm &
Competition: newly released
35mm
programmed by
features
known
director. 2 sections
US
indie films
Panorama
Int'l
screen
wide range
TV
more commer-
to
(features
life in
&
shorts
Lifetime
crite-
Germany,
Other sec-
distribution.
;
also
Panorama presents
films.
Retros
New German
tributes;
European Competition,
is
&
compete
Golden
for
which features (longer
in
shorts (less than 20 min.), shot
&
Silver
35mm,
in
Awards (support
Iris
for
approx. $73,000). Other sections: America meets Europe
16mm & 35mm) &
commercial
or
Kinderfilmfest;
section
than 60 min.)
18-28,
Jan
1974, test's main
in
avant-garde intellectual &
the film's second
is
Belgium. Deadline: Oct. 31. Founded
European promotion & distribution worth over 80,000 Euro,
70mm, 35mm, 16mm). The main
Panorama
BRUSSELS EUROPEAN FILM FESTIVAL,
experimental
studio films
incl.
under 15 min.,
either on
doc &
of
pro-
official
of
work from low-budget
of
ventures,
tions:
of
section
up,
shows more commercial
rion for
programming
New Cinema &
in
&
(60 min.
political films
cial
for strong
narrative,
works. Forum specializes
fest
of
Forum
(noncompetitive
Both
gram).
are:
invitation
Achievement
European Film Market
Films.
important meeting place for screenings
&
reps from over 40 countries. Forum has
own
sales,
(Independent features longer than 60 min.); Belgian Focus
w/
&
a Natl Competition for short films
New German
docs; Focus on
Programs
Directors; Special
Night of the
incl.
Formats:
Short Film, tributes to film personalities, etc.
35mm.
No
Preview on VHS.
Thomas,
Christian
fest
dir.,
BEFF
Contact:
entry fee.
Chausse de Louvain 30, 1210
Brussels, Belgium; Oil 32 2 227
39 80;
32 2 218 18
fax:
60; [email protected]; www.brusselsfilmfest.com
is
BRUSSELS INTERNATIONAL FESTIVAL OF CARTOONS

w/
& ANIMATED FILMS,
Feb. 6-17, Belgium. Deadline: Oct.
theater,
31. Since 1982, fest has been
showcase
new, inter-
for
Arsenal, for year-round commercial exhibition occaesting works

sionally of fest titles.
Forum has
its
own two
juries,
animation, providing opportunites to be
in
w/
& TV
seen by Belgian film
cash
prizes.
must be produced
entries
All
it
months preceding
fest
&
is
one
European animation tests involved
of top 8
in
for
Cartoon d'Or. Close
children,
70mm, 35mm,
Formats:
retros.
&
retros
16mm.
Notes:
from
prize-winners
35mm
Imagina),
BetaSP
or
Pixel
(incl.
Ina
programs &
children's
must be under 10 min.
some
short ind. animation are
VHS
on
premieres,
of film
Computer animation
exhibits.
films
All
during 2001. Shorts on
Preview
to
Germany. Cats: feature, short, doc, exper34,000 spectators attend hundreds
imental,
in
not released theatrically or
nominating films that compete

on video
While noncompetitive,
distribs.
12
in
Entry
fest highlights. Cats: ani-
105 euro
fees:
mation, long feature, CGI, short, children, feature, exper-
(approx $95) (features); no entry fee (shorts). For info
music
imental,
&
entry forms, contact: Gordon Hitchens, Apt. 3W,
video,
Awards:
student.
Competition for Best Short Animated

W. 85th
NY 10024;
St., NY,
contact:
Film
BIF;
(212) 877-6856; or
tel/fax:
35mm, 16mm,
Contact:
fee.
Forum,
Gregor,
Ulrich
director;
Formats:
Film.
Beta SP
70mm. Preview
BIFCAF,
Francoise Catahala,
Werner Gondolf;
Submission,
Beligian
214
on VHS. No entry
Folioscope
Panorama, Wieland
Avenue de Stalingrad, 1000 Brussels, Belgium;
a.s.b.L,
Speck, director, Potsdamer Strasse
5, Berlin,
Germany
Oil 322 534 4125;
fax:
322 534 2279; info@folio
10785; teh 011 49 30 259 20 444; fax 49 30 259 20

scope.be; www.awn.com/folioscope/fest
499; [email protected]; [email protected]
CINEMA DU REEL, March
www.berlinale.de; www.fdk-berlin.de
1.
BLOWING BUBBLES,
Dec. 1-8,
Int'l
of
Blowing Bubbles, the only competition of
was
&
in
&
Europe, are to select
&
prevention campaigns,
held at the George
is
new
Musee de I'Homme. Films & videos
& understanding
of
France or aired on French
&
Paris
& AIDS. Competitive
not released the-
& unawarded
TV,
at
Works w/ cinemato-
fests are eligible.
int'l
section incls.
& emphasizing filmmaker's
point of
videos up to 10 min. Non-competitive section
view
incls. films longer
for
likely
selection;
require
docs
informative
or
news
than 10 min. Blowing Bubbles does

reports not considered. Films
not
in
contemporary
graphic qualities
film
Pompidou Centre
&
other French
issues related to HIV
documenta-
social
promoting doc cine-
of
treatatrically in
info, solidarity
1979 w/ aim
followed by Overview of Ethnographic Films, held at
the
ments
in
screen independent films
videos that deal w/ subject matter related to HIV
AIDS; for example:
set up
its
ma. Fest
kind
&
Deadline: Nov 8.
Italy.
tion,
The goals
8-17, France. Deadline: Nov.
fest of visual anthropology
reference
homosexuality.
to
must have been complet-
Awards:
ed between Jan.
&
Dec. 31, 2001. Cats: ethnological,
1,500,000 ITL (approx. $110). Preview on VHS. Entry

doc. Awards, decided by
Fee: none. Contact:
approx
euro,
Box 207, Via Del Torchio 12-20123, Milano,
3902 3319118;
Italy;
$7,300),
short film
Prix
(8,000
(2,500 euro,
prize
Oil
fax:
Grand
int'l jury, incl
Programming Committee c/o MBE,
approx. $2,300), Joris Ivens Prize to young filmmaker
& Multimedia
(2,500 euro)
www.cinemagaylesbico.com
Author's
(SCAM)
Society
Prize (4,580 euro, approx. $4,200). Jury of librarians
BRADFORD FILM
Nov.
FESTIVAL, March 8-23, UK. Deadline:
16. Since its inception
gone from strength
films from around the world

highlighting the
well
incl.
work
of
&
1985, the festival has
presenting
new &
classic
includes the Shine Awards
new European filmmakers as
as the ever-popular Widescreen Weekend which
draws
the
in
to strength,
large format enthusiasts from around the globe
Museum's
ability to
show every
film
format up
to
w/
&
Cinerama & IMAX. Cats: doc, feature, experimental.
Formats:
35mm,
Contact:
BFF.
Beta SR Preview on VHS. No entry fee.

Lisa
Photography, Film
UK BDI
&
Kavanagh,
Natl
Museum
award the
professionals
approx. $5,500 for films
w/in
subtitles)
int'l
Panorama & Foreign

Marcorelles
Prize.
Libraries
w/ French version
competitive
Affairs
Formats:
section
35mm, 16mm,
Preview on VHS. Entry Fee: no entry

info
for
Contact:
deadline,
or French
requested.
until
Director,
25,
Renard, Paris Cedex 04, France 75197; Oil 33
44 21;
fax:
33
Louis
Beta SR
Only send entry
fee.
do not send tape
CDR, Suzette Glenadel,
French
or
awards,
Ministry
&
(6,000 euro,
Prize
rue
1
de
44 78
44 78 12 24; [email protected]; www.bpi.fr
of
CRETEIL INTERNATIONAL WOMEN'S FILM FESTIVAL

Television, Pictureville, Bradford,
March 15-24, France. Deadline: Nov.

INQ; 44 1274 203308; fax: Oil
15.
44 1274 770217;
[email protected]; www.bradfordfilmfest.org.uk
oldest fests of films by
women &
one
of
One
of world's
most important
Octobei
2001
THE INDEPENDENT
47
c
showcases, now celebrating 24th

with
85 years
is
distributor,
Ifyour new work
and other
institutions
worldwide.
journalists,
Controversial
&
proceedings.
Sections:
woman
competition,
young cinema,
director,
&
distributors
buyers.
retro
modern
of
program. Special
int'l
event for 2001: Latina Filmmakers. Competitive section
All
call.
of
discussions traditionally part of
critical
selects 10 narrative features, 10 feature docs
is
filmmakers,
incl.
suburb
Paris
In
yr.
annually attracts audiences of over 40.000.
Creteil, fest
shown 3 times.
films
Reynaud &
U.S. reps B.
co-directed
or
2000; not theatrically released
510-643-2788
ductions
shorts.
by test's
Films must be directed
E. Hesik.
women; completed
by
& 30
made
U.S. preselection
since March
1,
France, broadcast on
in
French TV or shown at other French tests. Student pro-
[email protected]
NOT
will
be considered.
All
subjects, genres
need
Films
&
days)
tion (3
some
prizes,
round-trip shipping for films selected.
synopsis,
transcript
selected,
&
accomoda-
styles considered. Fest pays for filmmakers
dialogue.
material,
bio
publicicty,
of
Awards:
some equipment &
cash,
&,
of
total
if
10
facilities, script
development fund. Formats: 35mm, 16mm. Preview on
VHS (NTSC
$15; payable
only). Entry fee:
Elizabeth
to
Hesik. Contact: B. Reynaud, Cal. Inst, of the Arts, School
24700 McBean Pkwy,
of Film/Video,
667-0166
fax: (323)
breynaud@
calarts.edu; www.gdebussac.fr/filmfem
GOTEBORG FILM
Deadline: Nov.
10-day
CA 91355;
Valencia,
or
FESTIVAL. Jan. 25-Feb.
Goteborg
fest,
Sweden.
4,
An FIAPF-recognized, non-competitive
1.
is
Scandinavia's most important
Spike Lee
fest
Jim Jarmusch
&
the biggest
in
fest in collaboration
COMFORT
Steve Buscemi
wand
Abel Ferrara
Prize Winner
Sundance
Film
aim
is
northern Europe.
ventional distribution forms

is
Todd Solondz
Prize Winner
Berlin Film Festival
feature,
fee. Contact:
GFR Gunnar Bergdahl,
has been
organized
Lesbian-Feminist
When We Were Kings
Italy.
Transferring to
16mm
and Super 16mm.

it's
proprietary software
25 years experience
in film
/video mastering & timing
PAL & NTSC

Title
*all
composed
of
in
over
all
around
15
umentaries,
fiction,
videos, directed by
Must be
39
IILFF,
Italian
& animation
films
&
lesbian and/or feminist
premieres. Cats: doc, feature,

short.
Preview
on
VHS.
Via Calori 13. Bologna, Italy 40122; 011
642
051
experimental
women, w/
animation,
4276;
[email protected];
www2.comune.bologna.it/bologna/assclv/festivae.htm
formats (HD, DVCam, DigiBeta & more)
& EPX design
for digital
&
film- to- film opticals
INTERNATIONAL PUBLIC TELEVISION SCREENING

;
CONFERENCE
12fl.
*Call to arrange
New York, NY 10001

212-645-8216
in
founded
members
various parts of the country to present doc-
Contact:
In-house color correction on uncompressed video
is
FILM
1993 by VISIBILIA. the

Association
several hundred
The Festival team
experimental,
All video is up-rezzed to film resolution files for film transfer
since
LESBIAN
Deadline: Oct. 30. Festival
women from
contents.
Creators of the CineMatrix recorder and
Italy.
Cultural
& numbering
Bologna,
115W27st.
INTERNATIONAL
FESTIVAL. Feb. 21-24,
Lli
35 mm,
Festival Director, Box
46 31 41 00 63; [email protected]: www.gote-
IMMAGINARIA
Art
Wendigo
Water' For Chocoli
8mm.
Formats:
Beta SP Preview on VHS. No entry
borg.filmfest.org
Full Resolution
State of the
repertoire.
7079, S-402 32 Goteborg, Sweden; Oil 46 31 339 3000;

fax:
Super Troopers
see films
Swedish premieres. Cats:
animation.
doc,
short,
doc,
16mm, 35mm, 70mm,
High Art
Happy Accidents
to
cinema outside con-
& to widen cinema
industry. All entries should be
TREMBLING
BEFORE G-D
official nat'l
the big meeting place for Scandinavian film
Michael Apted
John Sayles
an
Institute. Fest's
audience an opportunity
to give the
reflecting the current state of world
Festival
It is
w/the Swedish Film
LA 310-821-1962
Deadline:
(INPUT), May 18-24, The Netherlands.
Nov.
Prestigious
2.
"See what our competition
is
afraid to believe."
screening
venue
which alternates between Europe & the Americas. Next
of our reel
year's
event
in
is
Rotterdam.
The
Netherlands.
Extremely open to
heavylightdigital.com
int'l
a screening
since conference
sion
is
than
on
is
innovative
work & independents,
focused less on what public
what
it
might eventually
televi-
become.
Independents, station producers, programmers, buyers.
THE INDEPENDENT
October 2001
commissioning
screen
&
week
editors, etc. get together for a
to
discuss provocative programs from around the
world. Submitted U.S. entries go through a two-stage

selection process; first
CPB
&
the U.S.
in
then
in Turin, Italy.
provides transportation grants to the conference
for selected
American producers who may not have

VHS. No entry
films. Cats: TV. Preview on
fee. Contact:
INPUT, Audrey Muck, Ass't Mgr, 1101 George Rogers

Blvd.,
Columbia, SC 29201; (803) 737-3484;
fax:
35mm, 16mm.
NF,
Copenhagen
K,
Kannikestraede
Dir St.
DK-1169,
6,
Denmark; Oil 45 3312 0005;
45
fax:
3312 7505; [email protected]; www.natfilm.dk
Noncompetitive fest offers a few awards. Tiger Award, for
new filmmakers
int'l
organization of film journalists; Netpac Award, award-
Award; Audience Award. Fest also hosts Cinemart
about
Jan., Spain. Deadline: early Oct.; inquire
late
sub(deadline Sept.
Showcase
Deadline:
Nov.
1.
de Cultura Contemporania de Barcelona, showing
nat'l
&
of
mentaries, co-productions
&
Formats:
& works around
video projects
Spring
&
by
& new
video
& new media
of video
thematic selection
w/
Archives, a collection of
ming
avail,
for public consultation. Cats:
genre. Awards: OVNI pays
short films. Cats: any style
exhibit
Beta, digital. Preview
& OVNI
cats of script
&
program-
is
any
&
on VHS. No entry fee. Contact: MPCFF, Michael Ghent,
380 West
&
distribution
1st Ave., Vancouver,
short,
Awards
(sponsored
200 euro (approx. $180)
installation.
Dutch
by
Archives. Formats: Beta
SR
Canada V5Y 3T7; (604) 681-4549;

858-FILM;
fax:
Canada:
in
687-4937;
(604)
movingpic
DV.
NATFILM FESTIVAL,
Annual test
is
April,
&
casing 140 feature-length films

people. Again this year a
theatrical
number
release or TV-sale
in
attended by 40,000
of foreign films
in
1.
Denmark show-
Denmark as
secured
a
direct
result of successful test screenings. Note that only fea-
ture-length films are screened

prints
w/
(minimum 65
min.). Only
English dialogue or subtitles accepted. Unless
otherwise agreed the fest must receive the print before

Feb.
20.
Cats:
Distribution
feature,
Prize
doc.
(awarded
Awards:
by
Nat'l
audience).
Prize
&
Formats:
in
the Netherlands, encourage promising

of
new
film-
filmmmakers pre-
Preview on VHS. Entry Fee: No entry fee. Contact: Joan
08001
5,
miering 1st or 2nd feature at
Other awards: Fipresci
fest.
organization of film journalists;
int'l
Barcelona, Spain; Oil 34 3 306 41 00; fax: 34 3 306 41

13;
FILM FESTIVAL,
INT'L
Netherlands. Deadline: Oct.
(shorts
w/
&
23-Feb.
Jan.
docs); Nov.
3,
(fea-
reputation for program-
ming innovative, experimental new works alongside more

commercial prods.
100+
features have world,
int'l
European premieres; more than 345,000 attendances

2001. Fest on par w/ Berlin
& Sundance;
describes
having eye for uncompromising individualism

social aspects of film.
&
prod.
int'l
Promotion
for
of
Asian
for
audi-
[email protected]; www.onvi-ufo.org
tures). Largest fest in Benelux
distrib of work.
&
More than a showcase,

Main program consists
premieres, selection from previous yr's
sidebars,
Friday,
of theatrical
U-matic,
1/2",
Leandre, Toni Serra, Rosa LLop, Montalegre
ROTTERDAM
Denmark. Deadline: Dec.
the biggest film event
VPRO),
to
Cinema;
[email protected]; www.movingpictures.nisa.com
Awards: Tiger
copy for the
to retain a
Digital, 3/4",
in
postprod.
TV organisation
accompanied by 10,000 Euro & a guarantee

work during OVNI as well as
Mar. 1)
&
style or
Netpac Award, awarded by Network

(877)
film
sales. Cats: doc, experimental,
animation,
feature,
Award, presented by
B.C.,
&
project development, prod.
makers; winners chosen from ranks

test director, Ste. 450,
40
media.
projects,
the works OVNI
all
Canadian features, docu-
35mm, 16mm,
financiers; about
projects represented. Additionally, Hubert Bals Foundation
release
or genre.
&
offers financial support (deadlines: Sept.
Presented
& meeting
important co-prod, market
place for producers, distributors
OVNI has two components: OVNI Scanner, which shows a
Television, this annual test tours 16 cities
an outstanding selection
1),
missions. OVNI takes place every 18 months at the Centre
funding
Canada.
tours,
Dutch
IDENTIFICAT, Late
Critics'
int'l
Fall
2nd works, 3 winners receive
1st or
10,000 euro (approx $9,150); Fipresci Award, presented by
ed by Network for Promotion of Asian Cinema;
OVNh OBSERVATORI DE VIDEO NO
737-
3435; [email protected]; www.scetv.org/input/
MOVING PICTURES CANADIAN FILM TOUR,
Kim Foss, Fest
retros,
Dutch
Perspective,
political
it
int'l
November 2nd
Dutch
favorite.
Award; Audience Award
Critics'
Formats:
35mm, 16mm,
CD-ROM. Preview on VHS. No
gramme
lands;
Dept.. Box
Beta SR DigiBeta,
entry fee.
Pro-
Contact:
21696, 3001 AR Rotterdam, Nether-
Oil 31 10 890 9090;
fax:
31 10 890 9091; tiger
filmfestivarotterdam.com; www.filmfestrotterdam.com
in
as
NOW
&
supports
of world
new Dutch
Three Rivers Him Festival opens

Exclusive preview/30 year celebration
Special guest speaker/Gourmet food
Visual Artists
itself
or
ence
&
&
The
all-new
AVAILABLE!
edition
International Film
of
the
and Video
tests,
and online. See our Web
films.
chasing information.
site at
AIVF
Festivals
Guide
is
in
to
print
www.aivf.org for pur-
Saturday, November 3rd

Three Rivers Rim Festival (continues)
30 year celebration-Day of Media Arts
(open to the public)

Live Bands/Visual Artists/Create-your-own-media
Interactive exhibitions/Art-Art-Art
Interactive exhibitions
Art-Art-Art
Fop more n po: 412-681-5449 or pghPilmmakers.org

j
Octobei
2001
THE INDEPENDENT
49
j.j^-l-'j:
members are
listed
magazine. Entry fee: $50. Deadline: monthly (postmarked
(206) 322-0282; [email protected]; www.microcin-
free of charge as space permits. the independent
by 15th of each month). Contact: HSC, 1605 Cahuenga
ema.com
reserves the right to edit for length and makes no
Blvd.,
guarantees about repetitions of a given notice,
[email protected]; www.moviewriting.com
limit submissions to 60
words &
CA 90028; (800)-SCRIPTS;
213, Hollywood,
Ste.
OCULARIS
it
how long
indicate
info will be current. deadline: 1st of the month,
SCRIPTAPALOOZA TV WRITING COMPETITION Accepting
two months prior to cover date (e.g., nov. 1 for

jan/feb issue). complete contact info (name,
&
sitcoms
pilots,
Prizes are
episodics.
$500
7775 Sunset
Scriptapalooza.
to: [email protected].
we try to be as current
Hollywood, CA, 90046. www.scriptapaloozaTV.com
16mm film to
be produced
2002. Any subject or genre,
& Performance
Space, 70 N. 6th
original or adaptation
org specializes
fee or appl.; scripts not returned. Deadline: Dec.
computer-generated abstract work
&
both accepting completed film
screenplay
submissions year round. Black, Latino, Asian & Native
ity
Amer. filmmakers (directors, screenwriters, producers, and
made
encouraged
of Color
submit VHS tape or
to
script.
&
by artists worldwide
hard-core real-
to ultra
Show has broadcast over 1,100
TV.
different 1
tapes
hr.
is
fit
into
the program. Artists are paid for broadcasted work. Org
you
(if
Send
1.
broad-
in
WORKSHOP
Submit tape
of interest.
or script
also
has programs
Rotterdam,
in
New
&
York
30 min. low-budget production. No entry
to
NY
Brooklyn,
St.,
cast of a 60 min. TV art piece every night. Works vary from
Mainstream projects also

up
rights);
non-commercial work. Contact: Ocularis, Galapagos
ing,
Art
summer
in
&
a quarterly open forum, also exhibits emerg-
REEL ALTERNATIVE FILM SALON AND REEL WRITERS
DPs)
have
4,
PARK4DTV: Amsterdam-based
8TH ANNUAL SHORT SCREENPLAY COMPETITION awards

of
works up
Open Zone
WORKSHOPS
CONFERENCES
Competitions
$300 & video copy
screenings; works over 15 min. for curated group shows.

All
11211: [email protected]; www.ocularis.net
as possible, but double-check before submitting
tapes or applications.
each
PMB#200
Blvd.
address & phone) must accompany all notices,

send
for
$1,500. Deadline: Nov. 15. Entry fee: $35.
cat. Total prizes:
Contact:
1 hr.
provides weekly forum for filmmakers to exhib-
work. Works under 15 min. considered for Sunday night
Berlin.
Contact:
full
PARK4DTV,
&
screenplay
Competition, School of
Allendale, Ml
Screenplay
Contact:
synopsis.
pg.
Comm., Grand
Box
NEXT WAVE FILMS
Valley State Univ,,
11344,
AMERICAN GEM SHORT SCRIPT CONTEST promotes &

new
supports
and continues
talent
opportunities for
new
all
&
produce the winning script
pledge of creating
its
FilmMakers.com
artists in film.
provide the. winner
will
w/ the
$500 & 5 percent
video tape copy of the film. 1st Prize,
of
w/
synopsis, bio
&
Coming Soon Tsunamis
a $10
fee (check or M.O.) to:
IGH Multimedia, LLC 655
American and foreign filmmakers launch their

Next Wave Films supports and promotes daring, low budget pro-
Established to help both

the gross (w/
in
Draft software;
$100 & FD
2nd
$150 & FD
Prize,
&
makers.com
Video. Deadline: Dec.
S.F.
1.
Visit
www.filnv
FilmMakers
Chatsworth, CA, 91313.

presents 2nd
annual Screenwriting from the Soul Script Competition, to
most heartwarming,
"the
Grand
Prize:
soulful story of the year."
$1,500 cash plus
Selling to Hollywod Screenwriters
&
sultation
dinner
NY
Brooklyn.
w/ Richard
free registration to
2002
Conference & script con-
Krevolin,
139
Ste.
St.,
careers,
11217;
670-3616;
(718)
Guided by a global network of advisors, comprised of internationalacclaimed directors, select producers, and other like-minded industry
professionals, the company identifies and supports promising new directors from the U.S. and abroad. Whether it's providing finishing funds to
both films and videos or executive -producing features though its Agenda
2000 production arm, the company is making its mark though its eclectic
choices of high-quality projects. Recent films supported by Next Wave
include: Kate Davis' Southern Comfort, Josh Aronson's Oscar-nominated
Sound and Fury, and Memento director Christopher Nolan's debut Folimving. Next Wave continues to be committed to helping extraordinary
directors realise their innovative visions. See listing on page 52
jects.
igh-
ly
multimedia
excite.com
Tapes
Films
AMERICAN SCREENWRITERS ASSOCIATION
find,
Fulton
Box 3489,
Competition,
Screenplay
Final
Field Video; 5th
for contest particulars. Contact:
2001
Magazine,
&
software; 3rd Prize,
& Syd
software; 4th Prize, $ 50
$ 50
Prize,
3 years after completion of the film)
Wanted
INDUSTRIAL
Cable
TV:
access show seeks exp,
humorous,
narrative,
dramatic, erotic, anima-
GH
1001
USC
Screenwritng
tion
&
underground works for
fall
Amsterdam,
[email protected];
Netherlands;
&
www.park.nl
Prof
&
author. Entry fee:
members): Deadline:
$40 (ASA menbers); $50 (non-
Oct.
31. Contact: ASA, SFTS,
12860, Cincinnati. OH 45212; (866) 265-9091;
Box
asa@
asascreenwriters.com; www.asascreenwriters.com
uncensored works wanted. Guaranteed exposure

area. Formats:
8.
Contact:
DVC
Edmund
020206, Staten
NYC
in
SVHS, VHS, 3/4",
Pro, mini-DV,
SP, Hi-
Box
Varuolo, c/o 2droogies prods,
NY 10302; [email protected];
Island,
PUBLIC BROADCASTING SERVICE accepts proposals from

programs by
Consult
ind.
producers aimed at public TV audiences.
PBS Web page
Contact: Cheryl Jones,
www.2droogies.com.
for guidlines
before submitting.
PBS Headquarters. 1320 Braddock
BAVC, the Bay Area Video Coalition presents biannual

PL, Alexandria,
award
two CA born video
to
artists
whose body
of
work
JUPITER OUTDOOR CINEMA,
located
in
VA 22314; (703) 739-5150;
fax 739-5295;
CA,
Berkeley.
[email protected]; www.pbs.org/producers/
merits recognition for
tion to the
& be
&
innovation
non-commercial nature. Deadline:
of
length:
its creativity,
contribu-
language of video. Works must originate on video

Oct.
60 min. Awards: $7,500 shared by two
Preview on VHS. Contact: BAVC, 2727 Mariposa
San Francisco, CA, 94110; (415) 861-3282
HOLLYWOOD SCRIPTWRITING CONTEST

outlet for recognizing
& promoting
x.
St.
9.
Max
artists.
2nd
FL,
519.
provides
seeks
ind. film,
res, lengths
video
& animation
local print.
ment,
still
Addicott,
is
photos
No
&
entry
other
fee.
season.
gen-
All
listed
&
reviewed
Incl. bio, artist
THE SHORT FILM GROUP accepts
in
year for
state-
materials. Tapes
not
c/o
Michael
CA 94704.
Contact:
Jupiter,
Berkely,
in
accepts short video, film
motion picture standard
INC./BLACKCHAIR
&
digital
PRODUCTIONS
media submissions
of
15
master scene format required. Must be unoptioned, btwn
min. or less for monthly screening program Independent
90 & 130
Exposure. Artists qualify for a non-exclusive distrib deal
pgs. Rules
Web
& requirements
in full detail
posted on
agents
&
works may continue on
producers. Winning synopsis published on the Internet
&
alternative, dramatic, animation, etc.
contest
marketed
to
site.
Awards: Winning script sent
production companies found
Creative Directory for one year, which
seeking
50
new
screenplays.
non-profit org created to promote short film "as a

itself."
in
incl. all
to
the Hollywood
major studios
year subscription to Scr(i)pt
THE INDEPENDENT
October 2001
For
more
SOUTHERN
Michael Addicott, (510) 652-0564; [email protected]

quality scripts of undis-
to nat'l
&
int'l
(NTSC preferred) labeled w/ name,
& support
&
venues. Looking for
Submit VHS or S-VHS

title,
length,
phone
materials. Tapes not returned. Contact: Micro-
cinema. 2318 2nd Ave., #313-A, Seattle,
WA
98121;
shorts throughout the
quarterly series of screenings in LA. Group
its
info:
Artists
asked
16mm
film
now accepting
30 min. section
&
have
of
45 min.
to
& $20
who
travel to 6
& VHS,
3/4", Beta or
2 hrs (can be cued
for judging purposes),
packet materials
art
Some
sites
film projection. Deadline: Jan. 15. Contact:
Attn:
1800 Gervais
St.,
for a
resume, any press
entry fee. Performance, installation
works-in-progress not accepted.
Commission.
a
to
appl. from film/video artists.
submit appl. form
to
program
is
means
www.shortfilmgroup.org
CIRCUIT, a tour of 6 artists
sites in the SE,
dramas
English;
promo
Contact:
2181 Shattuck Ave,
MICROCINEMA,
in
promoted,
Submit on VHS or DVD.
covered writers worldwide. Registered feature films (no TV

or sitcoms)
for fall
cats accepted. Selected works featured
weekly program which
returned.
new
&
Susan Leonard, Media Arts
do not
SC
Arts
Center.
Columbia, SC 29201; (803) 734-
8696; fax: 734-8526; sleonard@arts. state. sc.us;

www.state.sc.us/arts
THE VIDEO PROJECT,
a leading educational distributor of
&
videos, seeks environment
educational films and videos
market to the educational market. Contact
to aggressively
us w/ finished projects or rough cuts. Contact: The Video
45 Lusk
Project,
San
Alley,
94107.
CA,
Francisco,
computer online
reach
in
&
schools
preproduction
for research
&
Recent grants ranged
$500,000. Guidelines
to
Jonathan
Dr.
enhance educational out-
rarely supported.
is
from $100,000
efforts, to
communities. Funding
Web
on
avail,
site.
T.
WORLD NEWSREEL
THIRD
incl.
Contact:
www.videoproject.net; [email protected]
given to innovative uses of public TV,
Consideration also
&
seeks short
Cut Pro
ETcJi-Hrvg*
Final
feature length
32202; [email protected]; www.jvm.com/davis/
&
docs, narratives, experimental
&
attentive to intersections of race, class
addressing other issues of
&
political
gender. Projects
social interest wel-
come. Formats: 1/2" VHS. Send submissions, synopsis
&
the film
of
director's bio to: Third World Newsreel, Attn:
New
Sherae Rimpsey, 545 8th Ave.,
947-9277;
NY 10018; (212)
York,
fax:
Betacam QP, DVCAM

DV, Timecode DAT
Uncompressed video
other film/video works
ARTSLINK
provides support to U.S. arts pros
work w/
arts orgs to
&
nonprofit
27 countries.
their counterparts in
Projects should be designed to benefit participants or audi-
ences
in
both countries.
CEC
Contact: ArtsLink,
West 31
Partners, 12
NY 10001, (212) 643-1985
York,
15 (postmark).
Deadline: Jan
Int'l
New
St.,
Filmlogic
24 Frame
cecip.org, www.cecip.org.
WIGGED.NET, seeks innovative &

plus
Web
animation
&
new media works,
exp.
Work should be under 5 min.
videos.
Deadline: ongoing.
ASIAN AMERICAN ARTS ALLIANCE: A

awards
al
is
total of
NYC Asian American
avail, to
$28,000
NYC TV show
local
is
looking for short films
Show watched
17 min.
to
300 GB
budgets of $100,000 or less which have 501(c)(3) sta-
card
storage
fall.
&
Contact: AAAA,
music videos from
editing
Igniter Film
in
w/ annu-
arts orgs
tus or Charities Bureau Registration. Deadline: late
WOLFTOOB,
software
artslink@
22,
x.
NaRhee Ahn, Program
Director (212)
941-
by millions,
or at least
thousands. Contact: [email protected]
& genre on super
length
creative community: the art of cultural devel-
OPMENT
is
4th year awarding
Publications
new
8,
16mm
for
any
35mm. Emphasis
or
promote films &
fit
CUFF's mission
in
to
commissioned by the
publication
5.
Rockefeller Foundation. Report traces the history, theoreti-
Contact: CUFF, 3109, N. Western Ave., Chicago,
& methods
cal underpinnings, values
of
community
its
effectiveness as a
IL
60618;
www.earthvideo.net
cultur-
(773) 327-FILM; [email protected]; www.cuff.org

al
development
& economic
response to social
ties.
empasizing
practice,
forces that
weaken
#3186
Contact: Rockefeller Foundation, Job
cultural
"Creative
CULTURAL
FEDERAL
FUNDING:
21
OPPORTUNITIES:
2-228-4254
Designed by the NEA to help nonprofit arts orgs identify
Community," Box 545, Mahwah, NJ 07430; www.rock-
potential sources of federal support for cultural programs,
found.org
this online resource incl. listings of federal
agencies w/ his-
tory of funding art-related projects, descriptions of projects,
Find an indepenlinks,
dent audience!
Annotations: A
IPA's
Guide
To
&
reference tools
tips on navigating specific funding
The
over 100 federal programs
sources. Listings
incl.
project examples,
showing various
& 170
Independent Press ($10, plus $3.05 S&H) gives you the
# of the editor you need. Also avail.: Many Voices,
name &
ed by federal dollars at
One
IPA Guide to the Ethnic Press of
City:
New
arts
programs support-
&
regional
nat'l,
state
levels.
York City
($17 plus $3.05 S&H). Send check

St.,
#201, San
2729 Mission
IPA,
to:
CA 94110; (415) 634-4401;
Francisco,
DVD-based
www.indypress.org
a video
is
&
TV & Web developers.
Series provides high-end training tools that improve pro-
Resources Funds
&
ductivity
creativity
for
FUND
provides grant
money
&
up to $10,000 to non-
of
in
any stage
of
address issues
of
conscious
socially
VHS
VTT3E tfp
S TPR ITOLfeT
experts that they
in
a traditional classroom setting. Contact:
nature.
Rafael, (877)
Applicants are req. to submit a sample
&
development
wouldn't have
that
training
technology, giving view-
ers access to working professionals
and video projects
profit film
DMTS
end-user.
the
episodes feature the latest topics
606-5012; info@magnetmedia films.com;
tape, synopsis
&
professional business proposal detailing budget, pro-
posed use
pleted
of 7
work
Fund monies,
to a public
&
plans for exhibiting
audience w/
in
com-
2 years of receiving
the grant. Finalists are chosen quarterly. Contact: 7 Fund, 7

Hillcrest
Ave.,
Larkspur,
CA 94939;
[email protected];

seeks creative ideas
growing diversity
Fund
is
&
part of the
for
for
Public
too,
"I,
AVID MEDIA COMPOSER

WITH ICE EFFECTS
AND MERIDIEN BOARD
Broadcasting
TV projects exploring America's
am
America"
Diversity
Initiative. Project
appl. will be accepted throughout the year until the avail,
www.sausali.to
fund
is
exhausted. This
by CPB. Visit
Web
call
may
MEDIA
site for appl.
info.
Contact: Diversity
Fund, c/o Program Operations, CPB, 401
Canadian prods
& aims
to
increase vol-
Washington,
ume
of
Canadian-made
films.
ACTRA
represents
9th
St.,
film,
and wishes
NYC
DC 20004; [email protected]; [email protected];
over
TV & commercial performers across Canada

to bring
these performers to
ind. film. Contact:
Indra Escobar (877) 913-2278.
FUNDING
AVAIL: Private individual willing
financially in prod'n of
outline of project
low-budget
w/ emphasis on
ind. films.
script.
to participate
Send informal
Filmmakers con-
provide grants to
tacted via snail mail, email, or phone. Contact: Indies,
support educational series assured
PBS.
IN
NW,
www.cpb.org/tv/diversity/rfp
16,000
OQ
LOWEST RATES
RADIO ARTISTS (ACTRA) announces new program supporting indigenous
be terminated at any time
Children's
series
are
of
of airing nationally by
particular
1923 35th PL, N.W.
Apt.
#1, Washington,
D.C.
1
B N 1 1 TH ST. BROOKLYN, NY 11211
7 B-599-Z3B5 WWW.DLTTPOSTVIDED.CaM
1
20007.
interest.
Octobei
2001
THE INDEPENDENT
51
iE)
'
IFP/MIDWEST PRODUCTION FUND 2002
member
producing a narrative, experimental, animation or
documentary short
shot
30
film (max.
must be
min.). Project
& must
the IFP/Midwest Region
in
provides neces-
production assistance to one IFP/Midwest
sary in-kind
originate on film.
Other restrictions apply. Award announced at on Nov 17, at
IFP/Midwest
the
Postmarked by
Conference
Oct.
in
Entry fee:
5.
Chicago.
Deadline:
$25
proposal).
(per
Rm
Contact: IFP/Midwest, 33 East Congress,
media content. Appl.

the avail, fund
until
may be
New Media
Voices,
401
60605;
435-1825;
(312)
be accepted throughout the year
will
is
9th
Fund, c/o Program Operations, CPB,
@cpb.org; www.cpb.org/tv/funding
505, Chicago,
was
emerging filmmakers
support to
&
& CATHERINE T. MACARTHUR FOUNDATION

&
vides partial support to selected doc series
ed for
/Analog
Digital
Development;
Sustainability).
Send
&
D.
Catherine
& Web Production
Global
3-pg
Chicago,
&
Security
Contact: John
letter.
60603;
IL
one
in
(Human &
T.
1100,
Ste.
focusing on an issue
prelim. 2- to
pro-
films intend-
two major programs
Foundation's
Community
St.,
Film, Video
&
broadcast
nat'l or int'l
the
of
&
other
435-1828;
fax
vital
D.
Independent Film
the
established to provide finishingfunds
[email protected] www.ifp.org (see Midwest page).
JOHN
DC 20004; Ibarbash
NW, Washington,
St.,
call
New
terminated at any time by CPB. Contact:
Channel,
IL,
new
supporting the creation of mission-driven, diverse
S.
Dearborn
726-8000;
(312)
[email protected]; www.macfdn.org
2000
ers
&
strategy
arm
of
Wave
Next
work can receive production financing
&
&
Both fiction
St., Ste. E,
&
filmmak-
prior directing
assistance for fea-
intended for theatrical release.
non-fiction films considered for finishing
& Agenda
funds
Films
w/
established themselves
tures shot on digital video
fes-
Through Agenda
the production
who have
w/ postproduction, implementing a
receive assistance
tival
w/ low-budget,
2000. Contact: Next Wave Films, 2510 7th
Santa Monica, CA 90405. (310) 392-1720;
fax:
399-3455; [email protected]; www.nextwave-
AVID
AND
FINAL
CUT PRO SUITES
MEDIA GRANTS AVAILABLE
IN
NY STATE: Experimental
TV Center provides support
to
electronic
films.com
&
artists
AFTER EFFECTS
MOTION GRAPHICS
EXPERIENCED
IN
FEATURE LENGTH
orgs
vidual artists
NY
in
Funds provides
indi-
$1,500
to help with the
com-
media &
film art
works which are cur-
March
rently in progress. Deadline:
3 3
4-8283
15. Presentation
Funds
provide grants to not-for-profit orgs, for personal presenta-
media &film
tions by indie electronic
film
to
State. Finishing
w/ grants up
pletion of electronic
media &
cap
artists.
Max funding
$800. Deadline: ongoing. Media Arts Technicalk
of
Assistance Fund helps non-profit media arts programs
NY
in
State stabilize, strengthen or restructure their media

organizational capacity,
arts
&
services
Electronic
&
1,
Film Program. Quarterly deadlines: Jan.
Oct.
Orgs
activities.
must be receiving support from NYSCA's
Media
Apr. 1, Jul. 1
&

(NAATA)
Lower
Newark
Fairfield Rd.,
Valley.
NY 13811; (607) 687-
VIDEO
monies needed
Editing
Replication
Transfer
Mastering

of Public
Editing Studios
Avid Media Composer
3D Pinnacle
From
to Digibeta
DV
&
companion
related
to
&
guidelines on
Web
sultation grants); Nov.
media
to present
to public
audiences.
digital
programs exploring the humanities
Deadlines: Sept 11 (con-
site.
(planning grants); Feb.
Division
media projects using
last
reviewed on a
Appls.
project.
to finish
NAATA Media Fund, 346
CA 94103;
Francisco,
Ninth
St.,
2nd
FL,
San
(415) 863-0814; fax: 863-7428;

program
offers
new
access
to pro
productions
in
filmmaker grant equip.
16mm camera
system
for first
dramatic, doc, experimental, or
narrative form. Purely commercial projects not considered.
Provides camera on year-round basis.
&
scripting
production
Contact:
grants).
wks min.
No
appl. deadline,
NW,
Ave.,
16mm camera
(plan-
will
Room 426, NEH,
Kelly
Simpson,
6219 DeSoto
a significant contribution to
&
writers working
in
institutions
Ave.,
New Filmmaker
Woodland
Hills,
Program.
CA 91367.
&
open
call for
submissions
OR
for Avid Film
is
Digital
announcing an
Camp 2001
pro-
to indie feature
staff
universities; scholars
w/ research
of Portland.
gram. 5-year-old program affords a boost

directors
members
provides
Washington, DC. 20506;
make
WA
incl.
NEH SUMMER STIPENDS
Seattle.
pkgs. to short, nonprofit film projects of any
Media
work on projects that
St.,
PANAVISION'S
Panavision,
1100 Pennsylvania
Plummer
S.
fax:
stamp. Contact:
Programs, Division of Public Programs,
for processing. Contact: Film Grant,
98134; (206) 467-8666;
genre,
ning,
the humanities. $5,000 stipend to support faculty
&
looking to complete their films, while offering
or educational
collections; scholars
&
writers working
in
institutions with
Avid
no connection to humanities; scholars
&
Symphony
Open 7 Days a Week

Woodland Mills , CA
(818) 883-0888
www.Aumoringdvd.com
October 2001
independently. Visit
info
on
eligibility.
Web
site or write to the
Deadline-. Oct.
1.
NEH
Contact:
for appl.
&
projects
accepted on a
NEH Summer
Digital
Stipends,
Ill, Portland,
Wahington,
D.C.
20506;
[email protected];
rolling
basis.
OR 97221;
Projects
Deborah Cravey,
Contact:
Rm. 318, NEH, 110 Pennsylvania Ave, N.W.
&
Online editing. Submissions need to be fea-
writers working
ture-length
THE INDEPENDENT
broadcast
Appl.
52
post-
in final
must be submitted.
taltvcenter.org
Encoding
Authoring
TV projects
Review process takes approx. 1-3 months.
rolling basis.
Contact:
but allow 10
from
is avail,
Awards average $20,000 & NAATA funds must be the
serious
4341; etc@exper imentaltvcenter.org; www.expenmen-
for applicants with public
production phase. Full-length rough cut
Contact: Sherry Miller Hocking, Exp. TV Center, 109
1.
Funding
American Telecommunications Association
Asian
Nat'l
SW
Westgate
(503) 297-2324;
Dr.,
Ste.
deb@film-
camp.com; www.filmcamp.com
www.neh.gov/grants/onebook/fellowships.html
NEW VOICES, NEW MEDIA FUND: CPB

$2
million this year to create the
New
has allocated up
to
by
Voices,
first or
New Media
intelligent, innovative,
Fund. Fund objectives are to harness the
new media
is
available
in
to create
and challenging films. The $500,000
by
fund
considers projects
second time feature filmmakers looking
varied
amounts
for editing,
sound mix-
music
ing,
rights,
and other postproduction costs. Selected
films will also receive assistance
and
BRAVO
film festival planning
in
documentaries, animation
Narratives,
distribution.
and works-in-progress may be submitted. Appl. forms can
Web
be downloaded from
Contact:
site:
www.thousand-words.com.
40 WEST 27TH STREET
thousand-words.com
finishingfund@
Thousand Words, 601 West 26th
St.,
or
2ND FLOOR
NEW YORK NY
NY
11th FL, N.Y,
IOOOI
www.bravolilm.com
10001. (212) 331-8900;
(212) 343-2134.
fax:
Sound Stage Rentals
TZABACO/FRAMELINE FILM AND VIDEO COMPLETION

FUND:
or
Notification of
about lesbian, gay, bisexual and transgender people and

communities.
their
cially
encourages
Women and
to apply.
people of color are espe-
The grant must make a
critical
contribution to the completion of the project. For purposes

of this application,
"completion" refers to postproduction,
as well as subtitling and video-to-film transfer. Awards

also based on financial need
will
& assurance
mental, educational. Awards: Grants

to $3,000. Formats:
16mm, 35mm,
in
the range of
1/2".
AVID Editing & Post Production
$500
346 Ninth
San Francisco, CA, 94103.

is
Preview on VHS.
Entry fee: $10. Contact: Festival, c/o Frameline,

St.,
PostTyphoonSky
BetaSP, %", S-VHS; ABC

DVE Pinnacle AJladin.
DVCam,
that the project
be completed. Cats: doc, feature, animation, experi-
X 28' X 14'; 600 amps;

34'
Award, Dec. 17. Projects must be by
COMPLETE POST PRODUCTION SUPPORT

INCLUDING BUDGET
Roll;
MANAGEMENT
Production Packages
COMFORTABLE,
FULLY EQUIPPED
We

AVID EDITING SUITES WITH
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"Copyright
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REDUCED RATES FOR

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Audio Services
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x. 9.
POST TYPHOON SKY, INC.

97 Grand Street Suite 6N New York NY OOl 3
1
for
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21 2.965.09Q8 www.post-typhoon-sky.com
Tel:
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Fax: 212 532 0444
THE 1ST
DIGITAL
FLAHERTY
Featuring presentations by
Marisa
Bowe
(Sissyfight
2000)
Dove
Tirtza Even
Toni
Our 5th Annual "Mag" welcomes all lengths, all genres.

Cash awards and "Mags" given in eight categories. Entries
screened in 35mm, 16mm, Beta, VHS. $10 entry fee. If
you attend we house you for free. Congrats to last year's
winners: Irene Turner's "The Girl's Room; Patricia Chica's
"The Promise"; Ace Allgood's "The Chromium Hook"; Anne
Dodge's "In Mound Bayou"; John Kozak's "The Eulogy";
Sadia Shepard's "Eminent Domain".
Entry Forms: Download at www.magfilmfest.com or write to:
Ron Tibbett, Festival Director 2269 Waverly Drive West Point, MS 39773
Phone: (662) 494-5836
Fax: (662)
494-9900
David Guez (tv-art.net)

Graham Harwood (Mongrel)
Art Jones
m ark
October 5-8, 2007

Rensselaer
Polytechnic Institute
Troy,
198
"Festival Partner" of The
York
International Film Seminars, Inc.
Broadway
New
York
212-608-3224
A Proud
New
Rhode
ifs>
Island International Film Festival.
Room 1206
NY 10038
fax 212-608-3242
flahertyseminar.org
www.flahertyseminar.org
Octobei
2001
THE INDEPENDENT
53
r^
EACH MONTH, 2 MONTHS PRIOR TO
DEADLINE-. 1ST OF
COVER DATE
(E.G. NOV. 1
FOR JAN/FEB
CONTACT: FAX: (212) 463-8519; [email protected]. PER
(incl.
festivals)
We
&
their films the atten-
Contact us at Aquarius (888) 440-
MEMBERS
send
or
preview
copy
to:
MEMBERS
MEMBERS
on guidance
issues such as violence, drug prevention, mentoring, chil-
OVER 600 CHARACTERS: CALL FOR QUOTE
marketing gives unequaled results! Call Sally Germain at
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related issues. Our films win Oscars,
Freddies
& more.
&
Join us! Fanlight Productions: (800)
Producer
ules
&
Amex.
will
PACKAGE:

SR Stereo TC Nagra4, TC FostexPD-4
54
T.HE
Distributor
(incl.
INDEPENDENT
&
Oscars,
MC,
Visa,
Mark (212) 340-1243.
Line

your film that unique "look."

avail. Call
Charles for
reel:
my
specialty.
16mm & 35mm
lighting
Can
give
packages
(212) 295-7878.
937-
4113; www.fanlight.com
of
Experienced
producer
Emmys &
October 2001
to
35BL, 16SR, Beta
DAT, feature
shoot features, music videos, commercials,
Cribben for info
&
reel,
lite
etc. Call
pkg.
Mik
(212) 929-7728 or (800) 592-3350.
DIGITAL VIDEO Videographer/DP with Canon XL-1 videocam;

prefer
documentanes. shorts and
less traditional projects:
documentation for dance, music and performance. Alan Roth

(718) 567-8052: (917) 548-4512; [email protected]
VIDEOGRAPHER
DIGITAL
and
VX-1000
Sony
with
Lectrosonic radio mic. available and happy to shoot docu-
any
545-6687;
Free CD. (718)
Free consultation.
style.
AVIDS TO GO
[email protected]; www.RocketSurgeon.net
mentaries and shorts. Contact Melissa (212) 352-4141;
WWW.MILLR0SEMUSIC.COM:
[email protected]
11 yrs. of
ence scoring features and shorts
creative cinematographer
many
with a heavy lighting background;
credits with top
DPs. Looking to lens interesting projects with a true vision.
Over 15 years
truck.
16mm
and
packages
work with experienced gaffer w/lOton

Call
travel.
Will
35mm
the industry;
in
for
Some
and
look
site,
the best work
of
NYC.
in
Conan
Stiller,
more, www.millrosemuthen
listen,
let's talk.
upon
Reels available
Luna
delivers.
496-0444. www.mill-
request. Call Peter Millrose at (212)
rosemusic.com
545-2609;
(781)
reel:
my
sic.com. Check out
Ben
for
SNL and many
O'Brien, HBO, MTV,
time experi-
full
[email protected]
Opportunities Gigs
DIRECTOR OF PHOTOGRAPHY w/ Am 16 & 35BL2 camera

pkgs. Credits
incl.
many
Willing to travel.
5459;
IN
CINEMATOGRAPHY: UCLA Dept
TV &
Film,
Media
Digital
invites appl. for tenure-track, full-
quick-
Matthew: (617) 244-6730; (845) 439-
time position. Dept offers degree programs
&
theory, creative
[email protected]
technical aspects of the
&
provides a scholarly, creative
DP WITH SONY PD 150

DAT audio)
with superb
DVCam camera
Sony Mini
(the
documentary
for hire for
&
narrative,
One-eyedcat
Productions
media
study. Applicants
w/film
&
avail,
for
help
Mac
working filmmaker
in
w/
788-5169;
Media
AfterEffects,
&
Greg (347) 731-3466.
fessional background
&
&
undergrad
in
frequent
from
&
The Independeni
&
zines, offers legal services to film
projects
contributor
development thru
other
to
maga-
video community on
Contact
distribution.
Robert LSeigel, Esq., (212)333-7000.
ment;
16mm & 35mm.
motion picture
&
&
&
advising students
courses,
camera,
in
teaching graduate
incl.
serving on
committees. Applicants should have an
MFA
&
video work of nat'l &/or
as a teacher
in
recognition
int'l
& communicator.
supervision
&
& demonstrated
Position req. significant
advising of student filmmakers.
appointment & salary
Prior teaching exp. is req. Level of
determined by the candidate's qualifications
&
Submit
exp.
a letter of appl. indicating exp., a statement of teaching phi-
losophy, work
samples (on VHS), & a current resume

TV &
of Film,
to: Bill
Digital
Media UCLA, Box 951622, LA, CA 90095. Appl. accepted

equipuntil position is filled.
UCLA
an equal opportunity/affir-
is
features. Vincent
& female candidates
mative action employer. Minority
are
(212) 779-1441.
encouraged
your Breakdown, Schedule, Day out
of
budget
high
but
for rates
WANTED
quality.
& educa-
NEA, NEH, ITVS, Soros, Rockefeller,
Lila
NYSCA,
Acheson Wallace
Foundation. Fast writers, reasonable rates.
598-0224; www.reddiaper.com;
&
writing
Wanda Bershen
or
Geri
Thomas
ing
the
greater
vision
&
int'lly
Cleveland
&
sound experience w/ time-
DAT, quality mics.
budget projects. Harvey
&
Reduced rates
for low-
Fred Edwards, (518) 677-5720;
[email protected]
area
staff.
Larsen,
and
in
Video,
is
to
S/he
have a good photographer on the set."-
in
&
Send resume,
manage & meet
Ave.,
Director, the
&
int'l
& names
for the Arts,
Cos Cob, CT 06807.

info
Full
contacts
deadlines, budgets
excellent verbal
letter of interest
www.mcaonline.com. More
to cul-
super-
be the festival spokesperson
AD must have
schedules.
skills.
will
will
strategic planning, fund
excellent network of nat'l
plus the ability to set,
region.
and have a commitment
development, and work closely w/ the Exec
Management Consultants
[for
& surrounding
programming & audience. AD
vise program staff, be involved
Putnam
publicity]
enhance
recognized festival serv-
a film pro, able to provide creative
artistic leadership,
tural diversity in
& must have an
code Nagra
secure films for the Cleveland
&
must be
Artistic Director
Board & other
yrs
&
Film Festival, plan year round programs, and
and references.
sought by the Cleveland
Email
the success of the nat'lly
(212)
or office
Int'l
[email protected]
home
Days and/or Budget.

Film Society to view, select
low
is
to apply.
ARTISTIC DIRECTOR
Specialty
electronic/digital
teach courses
ability to
McDonald, Search Committee Dept.
with crew
&
Short films
in
the
degree or comparable pro exp., a body of distinguished film
duties
&
aesthetics of cinematography, a pro-
associated topics. Duties
dept/univ.
skills
broad knowledge of
of current trends, a
Cut Pro? Exp. con-
Final
FCP,
in
filmmaking, a thor-
&
(718)
exp.
& doc
both the technology
cinematography
training
dramatic
ough understanding
lighting
DV CONSULTANT: Need
in
professional approach to
&
reel
[email protected]
sultant
video prod'n
the history,
in
moving image &
must demonstrate hands-on
sensitivity to
your project. Half day rates avail. Call or email for

rates:
of
shorts. Create
& work
"big film" look on low budget. Flexible rates

ly.
ACADEMIC OPENING
&
indie features
&
writing
PICTURES
of 3 refs to:
Box CFS, 132
E.
job description at:
about CFS
at:
212 255 2564
www.cleve-
landfilm.org
The Next Step: Distributing Independent Film
[email protected]; www.stevenborns.com;
(212)995-0535.
FELLOWSHIPS AND TEACHING ASSISTANTSHIPS AVAILABLE: The MFA program
in
Film/Video/Digital Production at
the University of Iowa located
THINK YOU CAN'T AFFORD ORIGINAL MUSIC? Rocket

Surgeon can build a fantastic score around any budget
in
& Comparative
in
the Department of
Cinema
Literature offers teaching or fellowship sup-
port to qualified applicants to
its
3-year MFA. For more
IIIKIIiMimi
Octobei
200J
THE INDEPENDENT
55
information on
how
www.uiowa.edu/- cclor
to apply, visit:
(319) 335-0330.
call
FILM/VIDEO documentary
sought
or investigative video journalist
tenure-track asst. professorship
for full-time,
in
journalism at the Univ. of Richmond, Virginia, a high-qual-
w/ about
largely undergrad, private liberal arts univ.
ity,
MA or PhD; distinguished
3,000 students. Qualifications:
work
reporting
in writing,
interest in developing
&
producing docs;
editing; exp.
web-based
distribution of video jour-
nalism; ability to teach a variety of other journalism cours-
teaching exp. preferred. Salary competitive. Send
es;
appl.,
of
&
research or writing interests, samples of work
and have 3
scripts,
letter
statements about teaching philosophy &
vita,
tran-
recommendation sent
letters of
Michael M. Spear, Journalism Coordinator, 418 Ryland
Richmond, VA 23173. UR
Univ. of
Women &
employer.
more
info:
to:
Hall,
an equal opportunity
is
minorities are encouraged to apply. For
[email protected]; www.richmond.edu/
academics/a&s/Dean/jobsjnfo/main.html
"50
FREE REPORT:
Ways
Improve
To
Video
Your
Wedding, Corporate, Television and more. http
Legal,
in
// videouni-
versity.com
MBA PROGRAM:
&
Publishing;
St.,
New
York,
Marketing Film; TV;
FRM-AVF Audrey Cohen

NY 10013;
WELL-ESTABLISHED
fax:
If
Music Mgmt.
75 Varick
College,
(212) 343-8477.
in
NYC
solid
camera group
freelance

clients.
Management; also
Theatre/Performing Arts
Entertainment Law;
Contact: Attn:
E-Commerce
Mkting;
Internet
Production;
qualified contact
to
COA
at (212)
of
505-1911. Must
have video samples/reel.
16MM CUTTING ROOMS:

rooms, sound-transfer
near
all
8-plate
subways & Canal
St.
&
6-plate fully equipped
24-hr access. Downtown,
facilities,
Reasonable
rates. (212)
925-
1500.
(212)614-7304
16MM SOUND
ture
&
MIX
avr 77
24 hour access
screening,
16mm mag
(.015/ft). Call
final cut
pro
now
Tom
16mm pic16mm/35mm
tracks mixed to 16 or
35mm
& sound
fullcoat.
editorial,
xfers (.065/ft),
ADR,
16mm
interlock
edgecoding
(201) 741-4367.
noho location
available
A-RAY PRODUCTIONS RENTS AVIDS: Our place

in
or yours.
Weston, CT or we'll bring
it
you
to
(2-wk minimum). Rates from $1,250. Includes AVR 77
pro tools mix plus
sound design
Real Time
Award-winning editors available.
EFX.
Call
(203) 544-1267.
full
voiceover and
sound effects
ADR
library
2 Pix/Sound
PBS.
Discovery,
EdityDesign/VO
Record/Music
History, National
Geo docs, features, short & experimental
Credits:
films. Student rates. Call Dexter
Media (617) 783-9660;
www.DEXTERMEDIA.com
poser w/ AVR 77
(212)477-3250
Pro-tools editing
to get
0829.
56
THE INDEPENDENT
October 2001
&
&
offline rez.
credits.
Beta
SP
New Media ComDAT, extra drives.
mixing; your Avid or mine. Fast
& easy
along with. Credit cards accepted. Drina (212) 561-
BRODSKY & TREADWAY

Regular
early
B&W &
frame
16mm. We
8, or archival
Kodachrome. Scene-by- scene
Forappt.
rates.
8mm, Super
only.
love
call:
(888) 349-3022.
The Media Loft
only. Correct
(978) 948-7985.
call
www.productiontranscripts.com for details or
only $70:
work over the
CUT YOUR INDIE ON OUR AVID:

1000 XL NT workstation
in
Production office avail, for your doc, industrial

cial projects.
drive
System
& Beta
incl.
Composer
Avid Media
a convenient, friendly Chelsea
& commer-
film festivals
members.
&
Suitcase
availability.
24.
x.
2 students per class. Bring your
own
to edit film/video. 1-
project
in!
Editing ser-
10am-6pm, $250;
vices also available. Intro, 1-day class,
Crash Course, 2-days, 10am-6pm, $450; Master Class, 5Call:
(212) 966-4107; fcpclass-
SOUND ART FILMS/TIMELINE
200+
Private edit suite
in
the Financial
w/ 24 hour access. 35 hours broadcast
storage,
at low res. Call Jonathan at Mint Leaf Productions:
(212) 952-0121
x.
award-winning
of
indie filmmakers.
Award-winning cinematographer w/Arri
16mm.
Avid Media
Comp.
Web
&
design
info.
Ph/Fx
802-9874;
(718)
Use our
Comfy
suite,
reel
&
Still
other
Bklyn.
in
10,
meridian
convenient location.
editors or yours. Excellent rates.
&
& DAT
http://home.att.net/

S16mm/
graphics.
DP
photography. Underwater photo/video. For
or small. Final Cut Pro suites
229.
SRII
Suite-offline, online. Light
sound, audio/visual rentals.
Mo

VHS, Hi-8
quality,
3/4",
graphic services avail.
DV formats, S-
&
&
low
fx artists available:
TWO CHEAP
AVIDS! Great
XL1000, Chelsea
PHOTOGRAPHY / AUDIO
EDITOR IN STUDIO
Low
introductory rates
AIVF Discounts
newest software.
all
FINAL CUT PRO 2

AFTER EFFECTS
DVD STUDIO PRO
DV, DV CAM, DV PRO/ DVD
MINI DV, HI-8, VHS
ANALOG /DIGITAL
Reg. and S/ 8 FILM
PRODUCTION /POST
project too big
(212)219-1400.
POWER MAC G-4
EDITORIAL: A convenient
-soundart; Loc.15 min. from mid Manh.
District
eMEDIA LOFT
Founded by a team
FINAL CUT PRO RENTAL:
AIVF
for
[email protected];
Contact:
one stop Film/Video Production/Postproduction boutique.
FINAL CUT PRO 2.0 CLASSES: Learn
10am-6pm, $975.
clients incl.
meridien software, 9.1 gig hard
deck. Call for rates
days,
&
has become
presenting
for
rental prices.
location: (212)
Media Composer
242-3005. Avid 400
5.5,
Creative Project Grants
Greenwich
Village,
NYC
(212) 868-0028.
WORK FOR AIVF,

based on tape
length.
etc.
A standard
Low
1 fir.,
prices
&
flat
rates
1-on-l interview
is
by selling ads on commission for The
Independent. Experienced ad sales representatives
Send resume and cover
No
letter
only.
(212) 924-4893
by e-mail to [email protected].
calls please.
THE PLOTS THICKEN.

PAGE7VRNERS will help you
Tweak Tighten, Tame,
Mold & Manage
your screenplays.
We specialize
the
skills
in
maximizing
of every
writer.
6-10 page consultations;

proofreading; agency submissions.
Low
rates.
Strong
results.
Discounts for beginning writers.

Inquire at 323.464.1732 or
Screen fatecâol. com
Ask
for
Rhoda
October
AVI THE
INDEPENDENT
57
T
Unless otherwise noted,
all
MIX & MINGLE
AIVF events
techniques and inform the public on what
MARKET
MARDI GRAS
for all events.
(212) 807-1400 x301 or [email protected]
AIVF AT THE IFP
screened to showcase the varying transfer
ANNUAL
AT AIVF'S
take place at our office (see box below).
RSVP required
www.aivf.org
When: Monday, October
MARKET
Cost: Free to any
When: September 30-October
5 2001
Where: Angelika Film Center,
New
York
For more information on the IFP Market:
Contact the Independent Feature
Nothing
and
1st,
all.
7-9 p.m.
Please
AIVF
Fear not,
the Market madness.
great chance to
meet AIVF members
be ever-present at the Market!
and other filmmakers from across the

nation! Light refreshments will be served.
visit
our information booth
1st at
the Angelika) and look
for staff
We
panels.
will also
Releasing.
filmmakers
Visiting
attending the Market should be sure to

stop by our Library during the
say hello!
for
AIVF members
discounts
Conference,
Producers'
the
to
of panels and net-
five days
When: Thursday, Oct. 4th, 6:30-8:30 p.m.

Cost:. Free to AIVF members; $10 public.
er,
and
foreign
founded in 1994
be posted at
Seventh Art
Udy
and
Among
Epstein.
SAR
Releasing
www.7thart.com
releases are
Strings;
The Wildest Show
Angola Prison Rodeo;

The AIVF
WED. 11-9
304 Hudson
fl.,
St.
Other
films include:
USA;
American
Through
Circuitry;
in
York City. Subways:
C or E
to Spring.
Library
or 9 to Houston,
Our Filmmakers' Resource
houses hundreds
of print
Day.
Udy
&
BY PHONE:
&
Living
Better
Meeting People
Is
Easy;
Night's Journey Into
Epstein and Sarah Marks to
and
AIVF'S DV TO
(212)807-1400
35MM
TRANSFERS SEMINAR
budgets.
CO-PRESENTED BY
Where: Minneapolis,
When:
Sat.,
IFP
NORTH
MN
Oct 13th
For Info: Contact IFP/North: (612) 338-
0871; www.ifpnorth.org
BY INTERNET:
58
THE INDEPENDENT
October 2001
The Screening Room

Vanck St. at Canal, NYC)
Tickets.
Meet the Filmmaker Pass
(8
evening screenings followed by discusreception): $25
AIVF members; $40
general public.
Full
Showcase Pass
(access to
all
AIVF
x301.
Individual screenings are $5, available at
the Screening
show
Room box
office
day of
only.
Daily screenings beginning at 2pm, plus

special events. For
schedule, contact
complete program
HBO:
(212) 512-
7660; www.hbo.com/framebyframe
HBOs
Fourth Annual Frame By Frame
series presents films of
both established
and emerging nonfiction filmmakers, cel-
trade magazines to sample
proposals
South: the
attend. Visit www.7thart.com
electronic resources, from essential

directories
in the
and Eyewitness.
The Farm: Angola
Pimp;
and Long
Bellyfruit;
New
When: October 12-25
members; $75 general public. Passes are

sold only by AIVF: (212) 807-1400
three Oscar-nominated Films: Speaking In
reach ATVT
AIVF CO-PRESENTS:
HBO'S FRAME BY FRAME SERIES
screenings and discussions): $50
by Jonathan Cordish
www.aivf.org.
a theatrical dis-
company
with the Market. Further details on our

will
is
produc-
tributor,
working events, which runs concurrent
week
transfer
sions with filmmakers 6k networking
Seventh Art Releasing
sales
activity-packed
facilities
processes.
(54
SEVENTH ART RELEASING
week and
are also eligible
explain
Where:
MEET & GREET
be pre-
Meet and Greets with Seventh
senting
Art
on
to
film-
all
AIVF
(Men., Oct
from transfer
hosts the per-
hang with fellow
fect opportunity to
makers without
Be sure to
Reps
on-hand
RSVP
Project at (212) 465-8200; www.ifp.org

will
for.
be
will
wear to the Gotham Awards
to
this year?
to look
Excerpts of
DV-to-35mm
test footage are
documenHBO and
Cinemax Reel Life premieres, and critically-acclaimed America Undercover
programs. The two-week showcase
includes special Meet the Filmmaker
events (co-presented by AIVF): featured
screenings followed by a discussion and
reception, plus a rare Meet and Greet
ebrating and highlighting the
tary genre. Films
showcased are
THE CAMARGO FOUNDATION

FELLOWSHIP PROGRAM
The Foundation maintains
who wish
to
in Cassis, France, a center for the benefit
of scholars
pursue studies in the humanities and social sciences related to
French and francophone cultures. The Foundation also supports creative projects
by composers, writers, visual artists, photographers, filmmakers, and video
artists.
The Foundation
offers,
at
no
cost,
eleven furnished apartments, a
reference library, a darkroom, an artist's studio, and a music composition studio.
The
accompanied by a stipend, awarded automatically to

each recipient of the grant. The normal term of residence is one semester (early
September to mid-December or mid- January to May 31st), precise dates being
announced each year. Applicants may include university and college faculty,
including professors emeriti, who intend to pursue special studies while on leave
from their institutions; independent scholars working on specific projects;
secondary school teachers benefiting from a leave of absence in order to work on
some pedagogical or scholarly project; graduate students whose academic
residence and general examination requirements have been met and for whom a
stay in France would be beneficial in completing the dissertation; composers,
writers, visual artists, photographers, filmmakers, and video artists with specific
projects to complete. Because of the limited number of studios, only one
composer and one visual artist or photographer can be accepted each semester.
Applicants from all countries are welcome. Application deadline is February 1
for the following academic year.
residential fellowship
For additional
Foundation's
is
and application forms, please consult the

www.camargofoundation.org or write to:
information
Web
site:
The Camargo Foundation
Mr William Reichard
125 Park Square Court
400 Sibley Street

Saint Paul,
55101-1928
MN
USA
HBO
with
all in
one productions
Documentary
Pass-
staff.
holders receive priority admission. Don't
miss your chance to see these docs
on the
MAESTRO!
Philadelphia: Nov. 16-18
Hosted by PIFVA
Theatre
& Prince Music
big screen.
AIVF CO-SPONSORS:

IN BRIEF:
Uncompressed Video
Media 100
SELECT SCREENINGS AT THE
PRODUCERS LEGAL SERIES
WALTER READE THEATRE, NYC BY

"GUILDS AND UNIONS"
Cut Pro
Final
SPONSORED BY
After Effects
Commotion Pro
Protools
COWAN, DEBAETS, ABRAHAMS & SHEPPARD
AIVF members may

(listed
Talented Editors
When: Thurs., Oct. 18, 6:30-8:30 p.m.

Cost: $20 AIVF members; $30 general
Theatre
support:
public.
W. 65
Our Producers
contact
HDCAM 24P/60i
Betacam
Betacam SP
Digital
DVCPRO/DVCAM/DV
U-matic
SP/S-VHS
with
Legal
WGA, DGA,
continues
Series
and IATSE contracts and
regulations. Topics include: guild jurisdiction; various guild
Hi-8/Video8
membership card
concerns specific to SAG,
legal
agreements; including
the low budget agreement; guild payment

HD/ Digital
Down
Cloning
Conversion
Via HD-SDI/Firewire
Time Code Burn-in
how
Also,
residuals.
the guild agreements
affect
is
The
tial distributors.
Center box
DUPLICATION
MAESTRO: CELEBRATION OF
TEL: 212-242-0444
10011
FAX: 212-242-4419
& one disc
of Cahiers du Cinema
AIVF CO-SPONSORS:
KUDZU FILM FESTIVAL

OCTOBER 7-14 (ATHENS, GA)
Meet
60 min.
$1 750
30min. -$1200
90 min.
$2000
program of
AIVF and
Media 100 Editing
artists
and
regionally-based
in conjunction with organizations in
They
ing peers in these informal discussion
and networking
20 VHS Tapes
w/sleeves & labels
Independents
Only
60
THE INDEPENDENT
October 2001
sessions.
AIVF CO-SPONSORS:
THE 2ND ANNUAL TELLURIDE

INTERNATIONAL EXPERIMENTAL
CINEMA EXPOSITION
arts
clus-
each
OCTOBER 26-29
(TELLURIDE, COLORADO)
include: formal focus groups,

artists
and organiand
zations, site visits, screenings of work,
technical assistance workshops for

will
visit
artists.
Atlanta
on
TIE
rejects the current trend in digital
filmmaking, and dedicates
mental cinema of
October 18-21. The complete schedule of

programs
films
will
be posted at www.aivf.org,
and will be mailed to area members.

Contact IMAGE Film and Video Center
and reservations: 404/352-
on the
tal film will
latest topics in
biggest
names
The
only admittance ticket
All-Access Pass $87.50;
part of the Northwest Film

Festival);
www.nwfilm.org
members
(as
& Video
some of
non-narrative,
in
Tickets:
Portland: Nov. 2-4
experimen-
take place, hosted by
Coming
Hosted by Northwest Film Center
and
present,
includes over 80
underground filmmaking.
MAESTRO!
4 days to
from over 12 countries. Panels and
lectures
the
past,
The program
4225; www.imagefv.org.
up:
its
the celebration of film-projected experi-
future.
for locations
Kudzu: Morning Coffee Sessions
at
industry professionals and filmmak-
issues affecting the profes-
and goals of
MAESTRO
Production Packages
Video Duplication
one of the
in partnership, addresses vital
sional needs
region.
is
prometheus-x.com; (706) 613-7126.
ATVF
Festival
Southeast's premiere showcase for inde-
Film and Video
informal dialogues with
15min. -$800
875-5600 or
Retrospective
tered activities designed and coordinated
info,
Oct 13-14: View from the Avant-Garde

Oct 19-Nov 15: 50th Anniversary
www.imagefv.org
organizations via
For
pendent film and video. Contact: www.
IMAGE
contemporary
NY
NYC.
Sept 29-Oct 12: Leonardo Favio
Center, (404) 352-4225;
NAMAC
N.V.,
in
Society of Lincoln
office at (212)
The Kudzu Film
ATLANTA'S MEDIA ARTS CULTURE
MAESTRO,
145WEST20THSTHEET
Film
www.filmlinc.com
be Distribution Deals (Nov. 15)
FFl: Contact
POST PRODUCTION
Broadway
the
final session in the
When; Oct. 18-21
PRODUCTION
Show
The
office.
located at Lincoln Center, 165
St. at
High Def
212.868.0028
box
at
independent filmmakers and their poten-
series will
/ Digital Cameras
DP & Crew Available
and the payment of
structure;
below) for just $5 per ticket!
$62.50
is
the
AIVF
(with card; cash at door only).
Visit
Ticketweb or
FFI:
(719) 277-6657, www.experimental-
cinema.com
call
(800) 538-7754.
The Foundation
for
affiliate

independent media community, including

The William and
^^
The Academy
seminars
of the
AIVF
New
BusineSS/lnduStry Members:
Inc.;
NY:
AKQ
for the Arts
CA:
Communications,
quality
video
services
at
discount rates.

Calliope Films, Inc.; Dr. Rawstock; Eastman Kodak Co.; Film Society of Ventura County; Forest
Creatures Entertainment Co.; Groovy Like a Movie; Moonshadow Production & Research; MPRM;
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Communications,
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We
and
artists


provide

to
Flora Hewlett
Foundation
Foundation
We

HfvH
^Bf VAM
Ltd.;
American Montage; Analog
Digital
Intl.,
Asset Pictures; Black Bird Post; Bluestocking Films, Inc.; Bravo Film and Video; The Bureau
for At-Risk Youth; C-Hundred Film Corporation; Cineblast! Prods.; Corra Films; Cypress Films;
Deconstruction Co.; Dekart Video; Dependable Delivery, Inc.; DV8 Video Inc.; Earth Video; Guerilla
News Network; Human Relations Media; Hypnotic; Inkling Prods.; Jalapeno Media; Kitchen Sync
Group, Inc.; KL Lighting; Mad Mad Judy; Mixed Greens; New Rican Filmmaker; New York
Independent Film School; Nuclear Warrior Prods.; NTV Studio Productions; On Track Video, Inc.;
One Kilohertz; The Outpost; Partisan Pictures; Paul Dinatale Post, Inc.; Prime Technologies;
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Inc.;
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Digital
Audio Post
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PO
Tel:
NY
Box 184 NY,
&
Info.
10012-0004
212.219.0951
Fax: 212.219.0563
www.standby.org
Nonprofit Members:
AL Sidewalk Moving Picture Fest.; AZ: U of Arizona; Scottsdale

The Berkeley Documentary Center; California Newsreel; Filmmakers Alliance;
International Buddhist Film Festival; Itvs; LEF Foundation; Los Angeles Film Commission; Media
Fund; NAATA; Ojai Film Soc.; Reach L.A.; San Francisco Jewish Film Fest.; USC School of Cinema
TV; DC: Corporation for Public Broadcasting; Media Access Project; FL: Manatee Community
College; GA: Image Film & Video Center; HI: Aha Punana Leo; U. of Hawaii Outreach College,- ID:
Center for School Improvement; IL: Art Institute of ChicagoA/ideo Data Bank; Chicago Underground
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Coll.; CA:
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Medical School; Long Bow Group Inc.; Lowell Telecommunications Corp.; LTC Communications;
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Fest.; MN: IFP/North; Intermedia Arts; Walker Arts Center; MO: Webster University Film Series; MS:
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University-Film and Video; NE: Great Plains Film Festival; Nebraska Independent Film Project, Inc.;
Ross Film Theater, UN/Lincoln; NM: Taos Talking Pictures; NY: American Museum of Natural
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Nashville Independent Film Fest; TX: Michener Center for Writers; Southwest Alternate Media
Project; Worldfest Houston; UT: Sundance Institute; VT: Kingdom County Productions; WA: Seattle
NW&D
Community College; Wl: UWM Dept. of Film; Wisconsin Film Office;

Documentary Forum/Hot Docs; India: Foundation for Universal Responsibility
Central
Canada: Toronto
training
advanced classes are offered
monthly.
and Kentucky.
Call for
more information
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for the arts

Friends Of FIVF:
Aaron Edison, Suzanne
Ulises Aristides,
Bakus
International, Michael Bernstein, Arthur Dong,
Christopher Gomersall, Patricia Goudvis, Leigh Hanlon, Robert L.

Hawk, Henrietta Productions, Jewish Communal Fund, Laura Kim, Bart Lawson, Elizabeth Mane,
Diane Markrow, William Payden, PKXH, Possible Films, Rhonda Leigh Tanzman, Mark Vanbork
Griffin,
www.wexarts.org
IZZZI^
for
members
to discuss work,
meet other inde-
the AIVF
country. Visit
more
details.
Be sure
to
and
date, time,
EZTV
Edison, NJ:
Los Angeles, CA:
When: Third Monday
allen(a.'passionriver.com, www.passionriver.com
Houston, TX:
of the month, 7:30

Street,
SWAMP
[email protected]
When:
Last Tuesday of the month, 6:30-8:30pm
Where:
SWAMR
1519 West Main
Contact: (713) 522-8592,
[email protected]
When:
First
Room
2821 North 4th,
When:
First
& Music,
Camoin
Contact: Mike
pm
AIVF SALONS AT THE IFP
Wolf Rd.
MARKET
(518) 489-2083,
The IFP Market draws hundreds
of
GA: IMAGE
expertise,
of the month, 7
Mark Smith
(404) 352-4225
TX: Austin Film
Austin,
Contact:
Anne
number
Where: Production
Plus,
be
[email protected],
who
Lifshey,
Contact: Clay Keith,
will
[email protected]; Karen
mem-
ber Steve
AL
Scott,
present
his film,
(205) 663-3802
First
(Subject to change; call to confirm schedule)
San Diego, CA:
Jersey
salon
2910
Crescent Ave., Homewood,
When:
New
Rochester, NY:
participating in the Market,
including Edison
OR:
members
will
Wilson,
of AIVF
from across the country
del Castillo, (512) 507-8105,
Dan
[email protected]
considered to
Salon leaders and
Society
Birmingham, AL:
First
is
levels of
events to attend with a project.

This year, a
[email protected]
When:
and
all
be one of the primary industry
pm

Contact:
filmmakers at
140
Portland,
[email protected]
Atlanta,
pm
Santa Monica
The

[email protected]
South Florida:
Contact: Dominic Giannetti, (561) 313-0330
[email protected]
Masterpiece,
Tuscon, AZ:
Boulder,
CO:
as part of the
"Films for Change"
Market's
Screenings
When:
First
Tuesday of the month,
Library,
7pm
"works
1000
6pm
Broadway
umentary of
great proportion, explores the
[email protected]
phenomenon surrounding a
Charleston, SC:
ridiculously
Thursday of the month 6:30-8:45
pm
Library,
St.
bad movie
(entitled
The Masterpiece) which,

cally, is
hotline
Lincoln,
NE: Nebraska
Ind. Film Project
of the month, 5:30pm
[email protected]
Salons are run by AIVF members, often in associa-
AIVF has resources
to
and committed members who
Please call (212) 807-1400 x236 or e-mail
[email protected]
for information!
Street

www.ohiotilms.com
Seattle: contact
wish to start a salon in their own community!
Cincinnati: contact [email protected]
assist enthusiastic
Festival
Salons Forming!
tion with local partners.
ever made.
Independent Film
New
ironi-
the most popular film
OH: Ohio
DC Salon
a mock-doc-
Cleveland,
E.
Contact: Rosarie Salerno, [email protected]
Masterpiece,
MA:
68 Calhoun
of the month,
Washington, DC:
Last
Monday
forum. The
Contact: Patricia Townsend,
When:
First
Where: Access Tuscon, 124
progress"
Arapahoe
Boston,
in
When:
on the web!
Visit
is
posted
www.aivf.org
for
an
[email protected]
Dallas,
of Dallas

[email protected]
62
THE INDEPENDENT
October 2001
The Experience Box
is
the
story
of
three friends and the extreme measures
they take to reinvigorate their languishing

J
Production
M
by
Macauley
Redglare passed away on
on
his story lives
and
friend
Fernandez de
has
in a
first-time
la
filmmaker
Luis
Buscemi,
Steve
with
interviews
help
28th, but
documentary by
Reguera. Rockets Redglare
Willem Dafoe, Matt
who
May
Rockets
Dillon,
and others
Rockets' story of heroin
tell
addiction and theatrical antics. Redglare's
autobiography Users Manual
2002 and the film
lished in
is
be pub-
will
targeted for
The
Contact: Florian Sachisthal; (718) 834-
[email protected]; www.prospect
pictures.8k.com.
film takes viewers to nine national
and simply asks why some information about their origins which would
into
insights
important
provide
history
Tom
Contact:
Entertainment;
wholly
is
absent.
Skipping Stone
Trinley,
www.-
312-573-9000;
MonumentalMyths.com.
C o r b n
Bernsen stars
Filming
is
now complete
Shelter
for
Dogs, a documentary profiling an unusu-
animal shelter in the Catskill

Mountains where homeless dogs attend
al
and
classes
Why
live in
dormitory-like rooms.
do people abandon
companions?
Why
sometimes decide
to
animal
their
do shelter staffers
euthanize an animal
in
completion by the end of 2001.
"losers" side of the story.
treasures
American
and pregnancy.
porn,
betrayal,
fidelity,
C.S. Peterson
uments hide the
his tal-
ents to this unusual tale of friendship,
8551;
New York character actor
Gould lends
creative lives. Elliot
Rubberneck-
ing,
Robert
Cynthia
Woods (bslow)
The following will be screened at the IFF

Market in New York, September 30-
Altman-esque
filming Shelter Dogs, a documentary about
ensemble film
a shelter that's like college for dogs.
October 5 (www.ifp.org). Dozens of talented
that follows
AIVF members
harried
have
will
works -in-
their
progress presented at the IFF; this
only a
is
TWO RUNAWAY TEENAGERS WHO
ARE LOOK-
ing for love are at the center of Lusting

for Dust Words,
new dramatic
feature
group
of travelers in
the
snapshot:
jam
traffic
from
hell.
this
uplifting
In
Elliot
Gould
(above)
in
The
story,
however,
accidents hap-
Experience
Box.
Tom
pen
Quinn. Contact: Tom Quinn, Four

Corners Ltd.; Cornered@fourcorner-
son.
sltd.com. Trailer available at www.four-
of
cornersltd.com.
congested freeway come to symbolize the
Wade, the
The
emotional roadblocks in each of us as the
and- death decisions that are
Ballad of Sexual Dependency, an urban
characters struggle to achieve something
mal
drama following three teens from Bolivia

and two from New York whose lives inter-
most people would not
their situa-
Contact:
Martin or
Reinberg
from
first-time
writer-director
Teen troubles are
twine.
also the topic of
From Bolivian-born filmmaker
Rodrigo Bellott, the film
is
the
first
co-
ical
for a rea-
The
phys-
the
tion
(left)
roadblocks
hot,
Sean Kinney, Fender Bender
also
screen narrative that will present the five

stories
showing different angles of the
same scene
as
well
as
parallel
Rodrigo Bellott;
Contact:
scenes.
(917)
513-
topic of the
historic sites are the
documentary Monumental
Myths, which aims
to tell
the story about our nation's
History
is
filmmaker
that Mt.
1920
CA
In the land of 10,000 lakes, 10,000 people dig for
Time
for
$10,000 buried
Cold Feet
is
in the snow. ISlo

a
documentary
both sides of
monuments.
is
Paul,
Minnesota.
is
buried somewhere in the snow, and for
twelve grueling days, the search
is
on
tor
the elusive prize. Filmmakers Trent Tooley
and Jackie Garry follow two groups
Tom
Irving
hunters.
Place,
Contact:
#V8C, New
ot
NAFIF,
York,
NY
raw look
at the life-
made
in ani-
shelters every day across the country.
Wade
Cynthia
Heidi
or
Red Hen Prod-
(Producer),
uctions; (718) 499-2480.
The
Berry
life
and career of director John
explored in the documentary
is
John Berry: Running All the Way. Berry

was blacklisted in 1951 and fled to Paris.
His struggle to rebuild his film career
story of survival that
Berry went on to
written by the "winners," but
Rushmore and many other mon-
film
type
St.
Directed by Cynthia
their care?
in
Medallion Hunt in
fanatical
Trinley hopes to point out
Tom Trinley sets up a shot at a

monument for Monumental Myths.
Director
national
about the bizarre Annual Pioneer Press

Every year since 1952, a small medallion
8756; www.rigobosd.com.
Monuments and
Village,
[email protected];
www.Rubbernecking.net.
It
Films,
Chandler Blvd. #116, Valley
and the
Bolivian digital film.
in
progress. Contact: Ross
91607;
first
left
production between Bolivia and the U.S.,
introduces a complicated constant dual-
W&IMs&mii.
seen as
independent
the
for
is
is
a proto-
filmmaker.
make over 20
films,
most recently Boesman and Lena (2000),

starring Danny Glover and Angela
Bassett, before his death in
age
ot
82.
Running
New
1999
at
the
Susan \\ unci,
LLC; 58 Morion St.
Contact:
Pictures,
York, NY,
10014; (212) 989-0684;
RunningPicturesC" aol.com.
10003; (212) 539-3103; www.nahf.com.
Octobei
AVI
THE INDEPENDENT
63
The director at
h es
US
Beth Pinsker
by
For the next several months
The Independent
takes
Rodney Evans as he
or as long as
be
will
it
following
tries to get his first feature,
Brother to Brother, shot and edited and out to

audiences. This
We join
The
is
the
first in
Rodney Evans
filmmaker
30
a series.
in
summer 2001.
years
from
old,
Queens, graduate of Brown and CalArts,

former feature editor
has been roaming
around the country
living
at
writers
elderly Nugent. Hyman actually knew

Nugent when he was alive, so he has a
jump start on the research for the role.
Evans is now looking for a young actor to
play Perry, and then two twenty- or thirtysomething actors to play Nugent and
Hughes in the 20s, as well as actors to play
Zora Neale Hurston, Carl Van Vechten,
and Wallace Thurman. If he were to get a
(who
are in a play together in
the time), he
working on
whole different funding
his first feature film script.
He's about to start casting, aiming to
What
he's got
now
are
dilemmas.
Having made documentaries previously,

is new to him. Does he want
casting agents from the theater or the film
from
apartment
his
commute
in Brooklyn, or
does
Springs,
HBO. But
for
ry
an
assistant editor in
want known actors or unasks. "Do I want the budget

contingent on who's in the film? Do I set a
Except for Isaac
now
or wait for permis-
sion from hinders? That's a lot easier in
the documentary world.

ital
video or film?
but film
He
is
so
It's
Do
shoot on dig-
cheaper on video,
much more
lush."
could go on for hours.
The
Gummo
when
Perry,
comes across
one of the Harlem Renaissance's hidden

treasures,
Richard Bruce Nugent, living
a homeless shelter.
As Nugent
starts
artist,
cially
Cosby 's father on The Cosby Show and a

noted Shakespearean actor, to play the
64
THE INDEPENDENT
October 2001
is
no
around the databases at the

Schomberg Center for Research in Black
Culture in Harlem and found a tape of
Nugent. He's a little-known figure, but
Smoke,
Lilies,
He
little
Perry
which is pre-known figure.

comes from Evans
lished by a black writer
why he is
The idea for
says
logue from Close
mentary of
script,
he
his
says, "I
these figures that
Once he had
is
openly gay work pub-
first
cisely
and Jade
he put a
lot of himself
chunks of
dia-
Home, his 1998 docucoming out. With the

wanted to pay tribute to
to
fell in
love with."
the idea nailed
down
York, the Virginia Center
Creative Arts
Centrum
Sweet
in
Briar,
Townsend,
Washington, the Edward Albee's Colony
for Writers in Montauk, New York, and
the Hambridge Center in Rabun Gap,
Georgia, this last one in March of 2001.
"I just
in
Port
kept disappearing," he says. In
between, he took editing jobs to make
money and
He
did research.
other material
getting
24-day shoot using
put
also
shooting plan and
together a budget,
all
it
many
down
to a
locations with
Movie Magic Budget and Scheduling
to
impress potential funders.

"I
used a multi-pronged approach," he
says. "I applied for grants.
tried to con-
nect with independent producers.

to people
No
and
knew."
He
talked
took the project to
Borders at the IFP in September 2000
IFFCON
in
January 2001.
At the IFP where the script won the

Gordon Parks Award, Evans says, "it was
the
first
place
met
a lot of people face-
to-face. That's important, because
big executives don't
most
have the time
meet with you any other way."

Going into casting, Evans is
still
to
look-
ing for the bulk of his budget. Stay tuned

for part
juggles
in
New
the
Virginia,
by a black filmmaker. Evans started
into the character, taking
These were the days when they were starting the literary journal Fire and, Nugent,
at least, was exploring his sexuality.
Evans already has Earle Hyman, Bill
exist."
experimental
nosing
to
1920s and focuses on the friendship

between Nugent and Langston Hughes.
Harlem
the
doesn't
It
himself.
the story weaves back to the
is
Julien's
at
help young Perry find his voice as a black
gay
"Where
1988 film Looking for Langston, there
considered the
starts in the present
York on films
direct treatment of these writers, espe-
few challenges for the low-budget filmIt
New
Renaissance movie?
his short story
a struggling college student,
and
and Spring Forward, and
script, Brother to Brother, presents a
maker.
actors,
The idea to tackle this period in histocame to Evans when he was working as
friend asked him,
production date
going with
the theater casting agents, looking at un-
like
happen
knowns as well as experienced

making one trip out to L.A.
Angeles?
"Do
and wide
he's going to look far
he want to do some of the searching in Los
knowns?" he
in a
game, proba-
ball
bly in association with a cable channel like
world? Does he want to concentrate the

process in Manhattan, so he can
New York at
knows he could be
in case that doesn't
this process
Don Cheadle
Wright and
pair like Jeffrey
colonies for the last year-and-a-half while
shoot in October.
rest.
two of the
series to see
an approaching
start
how he
date with
collecting the rest of that money...
1998, Evans started applying for grants to
work on the
script.
He
got
money from
the Jerome Foundation and the
New York
State Council for the Arts, and along the
way earned
stays at
Yaddo
in Saratoga
For more information contact the filmmaker

at [email protected].
OVER 60 SCREENINGS
COAST TO COAST
NEW YORK
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THE 21st ANN
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ANCHORAGE
KOREA
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BLACK MARIA FESTIVAL, C/O DEPARTMENT OF MEDIA ARTS
NEW
JERSEY CITY UNIVERSITY, 2039 KENNEDY BOULEVARD
JERSEY CITY, NJ 07305
PHONE 201-200-2043
WEBSITE: http://ELLSERVER1.NJCU.EDU/TAEBMFF/
THE BLACK MARIA FESTIVAL
IS
AN OPEN COMPETITION AND
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CASH AWARDS FOR WINNING ENTRIES
CO N G R AT
JURORS' CHOICE: Miguel Die* Lasangre ANIMAL
Zack
Stiglicz
WINNERS
BENT
Joanne Shen CRICKET OUTTA
COMPTON
. Bill
IMAGES OF FLYING AND

FALLING . Jay Rosenblatt KING OF THE JEWS . Jim Trainor THE MOSCHOPS . Christian Bruno and Sam Green PIE FIGHT 69 .
George Kuchar SPAWN OF THE PAGAN JURORS' CITATION: Leighton Pierce BACKSTEPS Ruth Sergei CUSP Hiroshi Mori CHAIR
Elisabeth Subrin THE FANCY Joe Gibbons FINAL EXIT . Dave Ryan HAPTIC NERVE ? Sarah Jane Lapp and Jenny Perlin HAPPY
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26 Diaries of a Serial Filmer
Mekas might
Ac
78, Jonas
his
breakthrough film
just
have made
a five -hour
2001
exploration of his
lite.
Michelle Coe, program director; Paul Marchant, membership director;
James
Israel.Bo
by
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Visit
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28 Appeasing the Festival Gods

Ten filmmakers share
their strategies for
getting their films into festivals. Plus:

Angela Alston (secretary), Doug Block (membership
AIVF/FIVF Boards of Directors:

chair), Paul
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cio),
What
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(co-chair;
development
James Schamus*,
chair),
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(president), Elizabeth Peters (ex offi-
Valerie Soe (vice president), Ellen Spiro, Bart
Weiss (co-chair),
a guide to avoiding festival traps.
by
Beth Pinsker; Kyle Henry
Debra Zimmerman*.
*F1VF Board of Directors only.
32 Winter of
My
Banished to the
House's Discontent
attic while his wife filmed a
low-budget feature in their house, a

shares his tale of woe.
by
2
THE INDEPENDENT
November 2001
George Fifield
man
Upfront
5 Editor's Note
7
News
Filmmaking
changed by the
is
events of September
York media
arts
1 1
New
nosE
Departments
groups respond
to the attacks; Film/Video Arts
takes a turn; briefs.
36 Legal
Public
when
Beth Pinsker;
Elizabeth Peters;
Farrin Jacobs
by
domain
rules get tricky
you're dealing with
reinterpreted work.
by
Robert
Seigel
L.
13 Opinion
Why
3-D animation
independent distribution
companies keep popping up.
by
Mark Urman
for
independents.
by
Greg Gilpatrick
15 Festival Circuit
The economy trims
45 Festivals
SIGGRAPH;
52 Notices
can't stop
dreary weather
Edinburgh from
celebrating film.
57 Classifieds
Chris Tome;
Darren McDonald
@AIVF
by
60 Events
20 On View
62 Salons
Projects opening or airing

television this
by
on
month.
Jason Guerrasio
64 Rushes
In the second installment of
The Independent's
22 Profiles
Milt
Thomas makes
series
following a filmmaker,
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Rodney
Evans interviews actors
film the old-fashioned way;
Brother
John Langley evolves the Cops
by
for
to Brother.
Beth Pinsker
ethos into a cable channel.
by Felicia Feaster;
Coven Tony Shalhoub and Lynne Adams
Scott Castle
compare notes on Made-Up.

PHOTO: CLAIRE FOLGER
25 Field Report:
Portland
Local filmmakers go
it
alone on
the distribution and exhibition

front, while
from dead
with a
Oregon tries to rise

on arts spending
last
new
trust fund. Plus:
Portland filmmakers and their
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November 2001
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Roth Pinsker, editor
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FINAL
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September
New York
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Germany
in
about rogue
in
the mid-
deal drugs and end up trying
huge shipment of U.S. guns to
to fence a
a
Toronto Film
a big deal at the
Festival (with
films to
Middle Eastern arms
dealer.
The
film
is
and insightful about

American arrogance, but it is
also cynical, exceptionally violent, and
nihilistic. Where will Miramax find a
place for this on the release schedule
now?
well-acted,
clever,
this era of
One
film that has a better
coming out and might
chance of
actually represent
coming out
Conversations About
the kind of film that should be

is
Jill
One
Sprecher's 13
Thing, which
bought
fate.
at
The
Sony Pictures Classics

the festival. That one thing:
film
is
tion that drifts
a time-shifting
among
rumina-
four characters'
Grey Zone, which

Gate.
will
be released by Lions
The Holocaust drama
is
about the
revolt of a group of Auschwitz prisoners at
the end of the war that resulted in the

destruction of two crematoria.
a good case study about
how
The
film
is
to deal with
unspeakable horror on screen
raising
questions of morality, but without com-
promising morality.
The Grey Zone
tries
hard to deal with
the difficult choice faced by Jews between
dying immediately or biding their time to
camps, doing whatever
try to survive the
One
was necessary along the way.
draw-
back of dealing with something so complicated

issues
is
in
audience
many
that
it's
hard to
settle all of the
two hours, keeping

in
mind.
And no
years have passed,
it's
a general
still
justify the use
Indymedia stepped up
issues
of that history for dra-
matic purposes. Those planning World
to
make
weekly
not receiving coverage in main-
Accuracy
Also
Reporting monitors press
in
coverage and
FCC
actions.
represented
at
the
meeting:
Film/Video Arts, US-Unite, MIX: the
Festival,
will
to
stream publications. Also, Fairness and
jarring
anything short of genius storytelling

not
NY
as well.
houses a direc-
publication of The Indypendent, featuring
Lesbian
to
site
tory of relevant work and tools

community screenings succeed.
how
matter
show images of
men pushing bodies into a furnace, and
and disturbing simply
each distribute topical programs
The MediaRights.org
& Gay
National Association
Independent
Coalition,
and
Producers,
of
the
Latino
Charas
POV
Information on coalition
activities,
well as contact into tor organizations
projects
is
online
Trade Center pieces should take note.
NY
Experimental Film Video
at
as
and
www.aivr.org.
Elizabeth Peters
November 2001
THE INDEPENDENT
FILM/VIDEO ARTS'
FALL BREAK
Newman decides
FWA.
Pro, people
need
necessarily
need to come back to use the
The
to take stock
in focus
shift
not an easy time to be a media
Changes
organization.
29th
direction
the
in
funding and
in
even
year have
past
arts
forced some stalwarts of the arena to take
ATHENS
The
a break.
Arts, a
INTERNATIONAL
latest to
Manhattan media
and
Film&
VIDEO
Women on
41
Festival
tor.
February 25
2002
in organiza-
it
what's more, she
has had a significant increase in
number of people taking workshops
and seminars.
think education
"I
is
where
like
22
taking a
is
still
is
we
are
necessary?"
says
Newman, F/VA's executive direcThe mission to offer access to film

and videomakers who might otherwise be
it
"the reality of
is
one
thing, but, she says,
how you work
mission has to change.
with that
don't
want
to
provide things that people don't need."
With
that
FWA
mind,
in
let
count down from 10

remain) and
employees go in September
bringing the
to six (a few
full-time
part-time positions
scouting for
new
began
locations.
Like other media arts centers that are
F/VA
streamlining
is
its
offerings,
weeding out the services that weigh
down and
revenue.
that
it
bolstering those that bring in
One
of the biggest changes
is
no longer rent equipment.

the focus will be on education.
will
it
Instead,
"We're calling
but really
education,
it
training
is
The
explains.
goal
is
people,"
to create a
business, because by training people
them in the
make a change."
getting
to
industry,
you can
"Part of the restructuring
arts
frankly," she says.
FVAs own
the fact that
and
start
is
looking at
it
The
cutting off direct
center
is
part of
it.
troubles are complicated by
its
few short
offices are just a
from what
Ground
is
now known
as
Zero. "We're definitely leaving
we were in," Newman says.

move was in the offing
before September 11, the attacks on the
World Trade Center made it final.
Though she isn't sure about where
the space
Though
a possible
FWA's new home might be

lodking at different areas,"
"we're
she
says,
"maybe Harlem" she isn't ruling out

moving off the island of Manhattan
entirely. "I know there have to be people
who don't have FinalCutPro, who don't
have a G4, who would still need our services because the playing field
level,"
with a business mind," she adds.

funding to media
it's at,
blocks
dependent both on grants and earned

income,
Newman.
Film/Video arts executive director Eileen
few
sort of "mini-trade school for the film
Newman
And for
F/VA
those
not
who would start to count
out because
Newman
is still
says.
of this
trimming,
counsels that survival
nearly
33 years of continuous operation
is
one
Another is the reason behind the

MacArthur decision, that more people
have access to equipment than ever
of the key elements that distinguishes her
before thanks to the advent of digital
as well.
media.
Newman
ized that
November 2001
FAF
And
Eileen
Newman
THE INDEPENDENT
tions in her area.
center that
What
"We're asking ourselves,

providing that
what we're doing
10
San Francisco, has noticed
the
Breast:
which
Breasts,
Film Arts Foundation in
tive director of
says,
films
G-d and
is
Newman says of the dearth
restructuring break.
cut off from
Entry
deadline
arts
being mirrored
of foundation support. Gail Silva, execu-
Film/Video
develop
helped
has
before
740-593-1330 phone
740-597-2560 fax
www.Athensfest.org
is
provided funding and equipment support
Trembling
April 26 May 2, 2002

Contact:
do so
is
across the country. "I think everybody
very nervous,"
Now is
"Now, with Final Cut

to learn, but they don't
services," she says.
Farrin Jacobs
by
people use
it
had
organization from other media arts centers
and she expects
to survive this time
has noted this and real-
started to
change the way
For more information see www.fva.com.
GZH72)
fourth wall and
tell the families the news

on the World Trade Center,
despite the ban on access to any media
that didn't exist in 1883. According to
of the attacks
Web
the show's
"due to the magni-
site,
tude of the events, they were given the
newspapers following the attacks.
local
"We
SUNDANCE POSTPONES
documentaries dealing with contemporary
Institute
had planned
to
host an anniversary benefit celebration in
human
civil liberties,
rights
reschedule
was 20 years ago
some
friends
colleagues to join
In the past,
SDF
funding (up to $15,000) for
home entertainment
this
project development, work-
with Film Threat editor Chris Gore to
in-progress funding
release a special line of
and
in
port (up to $10,000)
talk
What came
(up to
$50,000), and back-end sup-
meant
to help with distribution.
move
Part of the goal of the
out
is
fund to run on
for the
its
Sundance Institute, whose

and continues to
manager, has been the only
thropist
goal was,
to
support
emerging
Of
support
come
course, the Institute has
way
since then, including being the
next few years as
North America.
number
of successful
films had their debuts at the festival,

which had its first run in 1985, or were
born out of one of the Institute's many
dating
Soderbergh's
Sex,
back
Lies
(1989), one of the early
Steven
to
and Videotape
Sundance films
to achieve recognition.
The
benefit
is
it
will
the
finds
its
continue to
fund over the
way
to self-sus-
No
proposals are being accepted dur-
which began
during the summer and was expected to
ing the transition period,
take several months.
Since
its
inception in 1996, the
label,
fans.
One
including
Day
in
The
film,
SOROS MEETS SUNDANCE
offering
access
finds too controversial"
new
is
The Soros Documentary Fund,

its
director,
new home
along with
Diane Weyermann,
is
at the International
of the Sundance Institute.

also likely get a
getting
Program
take that.'"
The team hopes
Next up
on the slate is
Drawing Flics,
eight.
Kill
The fund
new name, and
will
there will
be changes to the application process. But

the goal will remain the same.
is
-electricity,
replicat-
of
they
Wiingee
ned
in
movie
ban-
Great
and never released. For more
Britain
information see indiedvd.com.
things
ERRATA
indoor plumbing,
and, of course, e-mail
unaware
all
that was
show had been
months. Deprived of
featuring
Smith troupe
members Jason
Lee and Jason
Mewes. Also
on the lineup
posed a particular dilemma. The three
1996 Kevin
Smith-backed
horror
ing the lives of homesteaders circa 1883,
'We'll
to release at
title
Montana,
like to
12 titles each year, some on DVD

and some on VHS, but would settle for
the set of Frontier House, one of
modern
say,
least
PBS's reality-based series currently in
for five
"We'd
be the ones to jump up and
SEPT. 11 AT PBS'
living in log cabins in
"under-
to
a big part of the
partnership.
FRONTIER HOUSE
families involved in the
42
ground, cultish films that the mainstream
SDF
production, the events of September
line for
According to Jonah Loeb, president of
IndieDVD,
posted at www.soros.org/sdf.
On
on
The Phantom Menace.
April 2002, though Redford will speak at
the 92nd Street Y in Manhattan on

Novermber 13. Celebrations set for the
Sundance Festival will go on as planned
and the Sundance Channel will honor the
anniversary with a month of programming
in November dedicated to the Institute.
first
days in 1999 to see Star Wars Episode One:
Further details of the transition will be
expected to take place in
The
titles.
narrated by Kevin Smith,
September,
to
has hooked up
follows the fans as they wait
has supported over 250 documentaries,
Southern Comfort and Licensed
Oregon-based
Portland,
IndieDVD/Film Threat offering is Star

Woids, a documentary that takes a peek
into the lives of some eager Star Wars
goal of the
tainability.
host of one the biggest film festivals in
programs,
and top hedge fund
donor and
filmmakers.
long
to
IndieDVD,
own. George Soros, a philan-
be,
go
www.pbs.org/wnet/frontierhouse.
offered
meeting was the
of the
they are struggling to
three types of grants: seed
about the future of film in
America.
us,
1 1
him
Sundance, Utah to
of
A FILM THREAT MARRIAGE
the staff writes in a press release.
year that Robert Redford

invited
many
cope with the tragedy."

For
more
information,
the
after
tragedy of September
It
social justice,
issues,
Like so
and freedom of expression,"
Manhattan on November 14 but decided

to
professional one-off
tional high quality
20TH ANNIVERSARY GALA

The Sundance
continue to support interna-
will
had been
anything going on
in
the
world outside their gaze.
But the producers decided to break the
In the
October -001
page 56
in
issue, the
"Two Towns
have been credited
Novembei AVI
to
i't
photo on
fasper" should
Steven
Miller.
THE INDEPENDENT
11
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Company of Bad Odds
the
In
Independent distribution keeps
been more monolithic, making bigger and

bigger movies, opening
them
wider,
much on
their
campaigns
spending so
that
rolling despite failures
our films can't possibly compete.
But, in
Mark Urman
by
and
my
experience, the
more homog-
enized mainstream films become,
the
greater the need for alternatives. This
summer's much documented pheThis past summer
me
nomenon of "frontloading," where-
had what was for
a first-ever film industry experience:
by everything rests on opening
weekend,
teamed up with a handful of trusted excolleagues and we founded a brand new

independent distribution company. After
decades in the business as an executive,
often
felt as if
had seen and done
films
something
ing
With
all
and
"independent"
of
by
rammed
confess to hav-
making
suppose that's
why
so
up so quickly,
media
very
the
down our
it
one week
that
throats just
earlier.
Mature, discerning filmgoers,
who
job
are our bread
and
butter,
whom Hollywood seems
instead of merely taking one.

I
films that flare
flop
and preparation the exhilaration of being

truly
it
could well be "over," proclaimed a
from the ground up was
different,
and
rate,
by weekend number two the film
during our months of planning
felt
shocking
could well drive audiences away.
there was to do in the indie orbit. But

starting a venture
burning out studio
is
at
many people
about, don't
tle
want
but
to care
to race out
Saturday night
lit-
on
have created film companies, and con-
that
tinue to do
often in defiance of any
crowded multiplex (one of thou-
self-preservation.
sands playing the same film) to see
or
logic
it,
instinct
for
something
number of people I know who

have done so, many of them several
times, is surprisingly large. Yet the num-
The
sheer
ber of extant
distributors
isn't.
names, derived from

gy or the thesaurus
is
enormous, and
has grown even in the past few months.
When
think back to the
first
heyday of the early eighties
marked by numerous
"indie"
an
era
the formation of several studio classics
and by unprecedented Oscar

nods going to the likes of William Hurt in
Kiss of the Spider Woman and Geraldine
divisions,
A Trip to Bountiful
find that
all
of the companies responsible for those
achievements are dead and buried.

Cinecom, Spectrafilm, Analysis, Atlantic,
Alive, Island, Triumph,
Orion
UA
Classics,
Fox
Classics, and Univerno more. The ensuing

years have given us, and taken from us,
Avenue, Aries, Triton, Skouras, IRS,
Hemdale and, most recently, Unapix,
The Shooting Gallery, and Phaedra.
sal
Classics,
Classics are
Bought, sold, or otherwise subsumed are
Trimark, Stratosphere, and

Goldwyn. What conclusion can we
October,
of necessity, has
that,
independently
financed and distributed successes, by
Page in
CaSliaLTieS abound among

film companies, and the necroLOgy
of FAILED COMPANIES is enormous.
mytholo-
astrology,
to
Cas-
and a necrology of
defunct companies
dozens of exotic
abound,
ualties
first
draw other than that the climate for

independent distributors is, and always
has been, hostile and their chances for
been engineered
survival are
see
slim?
So, even as
embark upon, my new
to satisfy the lowest
com-
mon denominator. Our
audiences want to
know something about
a film before they
it,
something other than that
it's
They
"playing at theaters everywhere."
adventure with confidence and optimism,
read reviews, they listen to the recom-
must ask myself, like any new "parent," what sort of world am I bringing my
baby into and what are its prospects for
mendations of
still
living a long
and prosperous
life.
the evidence to the contrary,

feel hopeful.
For
all
is
good
that
as
it
it is
threats
and
risks
powerful but, at our best, so are we.

true
that
have
to believe that platform releases, and a
may indeed be greater, but so are the

rewards. The enemies might be more
It's
they
a testament to quality.
Despite
our talk about the
The
actually
has always been as bad or as

today.
and
when
it
same theater for

justly assume
that
at the
longevity
current bad climate for independents, the

fact
weeks,
friends, they like
around
film sticks
Hollywood has never
is
measured, careful rollout

ble route for
to take
to
is
the only
sensi-
an independent distributor
going to look better and beuer
our kind of tilmgoer.
Another
nail in
our coffin
is
the col-
lapse of the ancillary markets. Lately, this
has truly become a serious issue. Cable

outlets are spending
November 2001
much more mone\
THE INDEPENDENT
13
on
original productions,
much
and
HBO
product.
theatrical
less
documen-
and they were never that
tary features,
interested in foreign language
of
arts
even worse. Now, the
is
that the only videos that sell
or
titles
The video
small-scale, non-star movies.
situation
ter
post-
superior nonfiction programming,
they have no need to acquire
The Neu school
on
produces so
line
is
come from
movies that have already sold out in the-
These
aters.
revenue
streams,
until
recently our best buffer against rising dis-
and the ever-present pos-
tribution costs
of a disappointing theatrical per-
sibility
formance, are endangered.
tes
what does this really mean? We

been complaining for some time
But,
have
all
that
there
films being
are too many independent

made and way too many being
released.
glut of
unworthy
that
titles
were made precisely because they had
whether
have
value
ancillary
genre or cast
courses in mcdir thcory,

DCSIGN, CRITICISM,
New
OPTION
M.fl.
star looking for
dential, or that
for
may not have
a clear-cut category
featured
an edgy, indie
one
cre-
fallen into
on
finds
a video
shelf.
fewer movies get
If
MANAGCMCNT and
PRODUCTION
of
room
may not have
better films that
some
because
left little
made
never movies, but were
that were
really videos all
along, perhaps there will be
more
slots at
Sundance, more room on
FULLY
r
ON-LING
Film, audio, video, Neu Media

on-site and on-line courses
state-of-the-art facilities
mr or media management
line-ups,
at
and eventually, more shelf space
Blockbuster for quality
films. It really
is
possible that a situation that seems so
now
threatening to us
in
something that
is
will result, in time,
better for everyone.
believe that this can happen, and
certificate
that
400 students from 35 countries
distributors'
why I and
is
what
do,
the
many
who do
The tur-
people
feel exhilarated.
still
moil around us can create enormous
We
opportunities.
in the fact that
information session December 4 at 6:00pm

rsvp or to
catalog
t a
212 229 563O X102
all
take comfort
chance to enjoy a triumph such
Crouching
uuu neuSGhooL .edu/medlastudles
should
each of our companies has
Tiger,
Hidden Dragon, or
Beautiful, or Croupier, or
as
Life Is
Memento, or any
of
the
other
"indie"
successes
that
nobody thought would work except the

people who made them work. Those
smart, crazy, lucky people are indepen-
New School
The
University
dent film distributors and
New School
66 West
12th Street
New York NY
happy
ioon
to be
am proud and
one of them.
Mark Urman
is
the
head of THINKFilm's
U.S. theatrical distribution division.
He was
the
head of U.S. theatrical releasing for Lions
Gate Films and co-President

Releasing from
14
THE INDEPENDENT
November 2001
1997
of Lions
until
May
Gate
2001.
cU Lili'Ji
Hsa
Li' 'S-L
The Cartoon Networking Event

Business was slow, but
deemed worthy
of viewing but which were
unable
because of rime reasons
to
fit
screened
SIGGRAPH
was
certainly... hot
week
all
Animation
Computer
the
at
Festival screening
rooms
in the
L.A. Convention Center.
Probably the most impressive piece at
Chris Tome
by
the
ET
was simply
this year
Progress,
from a
though hard
was
&
Light
Industrial
titled
little
Work
Magic.
Al-
to follow storywise,
powerfully
in
shop named
it
with
beautiful,
every effect in the book used quite

creatively
from
particle effects to
fur,
landscapes, character anima-
tion,
and more. Even more surpriswas that ILM allowed the
ing
DVD
material to be put onto the

that
SIGGRAPH
The
other real crowd-pleaser was a
sells at
the show.
short called Ice Age, from animated
Oscar-winner
short
When
Studios.
squirrel tries to bury
the
Sky
Blue
3-D cartoon
an acorn
in
he quickly finds himself
ice,
trying to outrun a wall of ice the

size
of a skyscraper, and the anima-
tion
is
a beautiful tip of the hat to
Warner Brothers
Blue Sky was
classic '40s-style
2-D animation.
bought in 1999 by 20th Century

Fox, which could
mean
that creat-
ing a full-length version of Ice

in
It's
the running joke with the
crowd
at
posedly
SIGGRAPH:
effort
all
world's biggest
Every
made
is
to
in
although
Orleans
it
was not
last year,
in
have the
on the making of Shrek, which it created

using Alias Wavefront Maya and a suite
of proprietary in-house tools. Square
Pictures, creators of the critically panned
bombed. For Blue Sky's
and
August,
as oppressive as
New
almost makes one
it
look forward to next July in San Antonio.

It
may have been
the temperature, but
the rambling technology exhibition was
than in years past, and
less bustling
less
well-stocked with exciting announce-
ments from big companies. But there was

still
tons to see and do
side of things. This
is
on the conference
where filmmakers
to show their stuff
and graphic
artists get
during
five-day event
the
thousands of
artists
Of course,
look what happened to
project. Just
Fox's
computer graphics con-
Angeles
association
with DreamWorks) did a special session
the world. This year the venue was once
Los
(in
The
Fantasy:
breathtaking
Within,
Spirits
Maya
used
they
and
Embedded Language),
and
its
Light
and
The
to create the film
work on Jurassic Park
Pearl Harbor.
the
Theater, which
is
is
the Electronic
where everyone from
large production facilities to indie

tors
ous
show
year.
their best
The
work from the
selection
committee
animaprevifor the
area that housed
"digital
friend,
lit
opium den,"
with
lots
it
in
Flow,"
installation that
CG
toys.
week.
all
up
like a
the words of a
furniture.
ment and
artist
liquid
was stunning
The
magnet-type
in its
move-
beauty. In the words ot Japanese
Sachiko Kodama, "The piece
interactive
installation
is
an
which expresses
the dynamics ot fluid motion ot physical

material,
the dynamics ot organic,
of digital
new
set
most talked about piece in the gallery was
the best work for a two-hour reel, which is

shown over the course ot the conference
at the Orpheum Theater. Other pieces
the hottest
a screening
of hanging fabric, sparsely
audience of animation and video game

floor to play with
was
spaces, and old Victorian
shapes and movements
show room
on
"Art Gallery," which was busy
program scans hundreds of entries to find
fans to the
fit
has a section called the
there's also the hearty
cialists.
and
trailer.
SIGGRAPH
"Protrude,
most highly anticipated
SIGGRAPH
event of
draws
III
A.E.
Titan
after
sake, the story
For work that doesn't
showed how
(Maya
cast of virtual actors. Industrial
Possibly
animation in the
reel,
MEL
Arizona studio
characters better live up to the amazing
Final
& Magic was also out in force, show-
ing off their latest
and technology spe-
that
nonetheless
but
Age
only shot at such
its
year, sup-
vention in the hottest possible place in
again
Animation shop PDI
3-D may be
and
ot liquid by
wild
means
computer control." Heady
stuff,
a total trip to see.
Halt of the job of any serious
November 2001
SIG
THE INDEPENDENT
15
The crowds on the exhibition
GRAPH
and
attendee should be to network
socialize with as
many new people
throughout the week.
as possible
And
what better place to do that than at the

parties? Alias Wavefront had its Global
|
Mayan
Users Alliance meeting at the
(how apropos)
Chris Landreth
Theater
party,
and
and
the
at
Habib
ILM were among the first

into the Maya Masters hall of
Zargarpour of
inductees
fame.
The next
NewTek's
night was the gang from
turn,
New
features include
Motion Mixer
floor.
(like
Trax in Maya) which allows you to blend

animations
much
like
editing
clips
video in an editing package.

Confusion, another cool
for a vastly
and
it
at
new
tool, allows
improved Depth of Field
there's so
much
of
Digital
tool,
more. Find out about
www.lightwave3d.com.
An
interesting aside
NewTek
was that
at the
event, Richard Kerris of Apple
(formerly of Alias Wavefront) gave a talk

|
and the user group
meeting was a great time. Then Digital

Domain took a turn.
The
other half of the job
GRAPH
December
1,
2001
16mm independent and experimental

films in
all
categories
and length:
is
to test out
all
the
SIG-
at
new
equip-
ment and software. On the exhibition

show floor each year, hardware and software vendors pull out the big guns. They
hold back press releases to announce new
documentary, animation, narrative,
advances
experimental, personal documentary
or ship
$35 entry fee

$ 18,000 awarded in cash prizes
Awards jurors: Pat Oleszko,
of the exhibition. This year was only
Jay Rosenblatt, Chel
White
FOR ENTRY MATERIALS

www.aafilmfest.org
at the show,
and they introduce
new products on
ferent in that
the opening day
many companies
dif-
cancelled
out of the show in advance, and some
backed out
at the last
SIGGRAPH
bling to
fill
minute, leaving the
conference organizers scram-
vacant holes on the show
floor.
There were some new products, howand the most well-received was the
surprise announcement from animation
software giant NewTek, that it was now
shipping LightWave 7, a major new
Blue Sky's Ice Age could
make
or break the
animation studio.
ever,
Ann Arbor Film Festival

PO Box 8232
Ann Arbor, MI 48107 USA
phone: (734)
email:
upgrade to the popular and powerful 3-D
995-5356
[email protected]
animation software used in
film,
and broadcast, among other
16
THE INDEPENDENT
November 2001
games,
industries.
about his vision of the future of 3-D.
and a couple pals have been workmonths on a "next-gen"

type 3-D application, and although he
Kerris
ing the last few
said
little
while speaking at length, he did
drop hints.
"As animators," Kerris explained,
need
have power
to
the real world.
do
like directors
may
director
375
"We
on
it
Our 3-D
his head.
st
10013
stop post at the tribeca film center
the table, grab the glass of water, and
pour
yorlc ,ny
www.islandmedia.tv
Documentaries
actor to go through the door, walk over to
greenwich
J j
2 141
20
Features
an
tell
new
Trailers
in
characters
need to have that kind of intelligence."

Kerris said that
more information
is
forth-
coming, and that you can find out more
by watching www.tweakfilms.com.
On
the hardware
nVidia was
front,
EDITORIAL
DESIGN,EDIT,MIX
SOUND
showing
Quadro DCC,
off the
GeForce
its
r~
r\
rA
nVidia
which
3 -based graphics card,
AVID offline/online
AVR 77/uncoi
F a m e / 3 d fx/animati<
Protools sound/5. 1 surf.
I
r~i
Mix
to
picture/M&E/VO/ADR;
DV>fi!m digital transfer s/neg

is
also the pixel-pumping heart of Micro-
XBox gaming system GPU. SGI was
soft's
mm
Finding
Sachiko
Kodama's
Protrude,
Flow was a
$199
pe
transfers
Quality
the
hit of
gallery.
^35mm
doesn't have to
be a PAIN
the ne(
in
HOTO COURTESY ARTIST
jiiii
announcing
ly
new 02
their
not announcing
Windows
Then,
had
it
when no one
after the show,
network any
rumored
killed its entire
Grand
Abel Ferrara
of desktop workstations.
line
SGI
longer,
laid off
1000 people.
to be
OUTHERN
COMFORT
JSMHSU
and quiet-
line
what was
..EMBLING
BEFORE G-D
great product endorsement in a market-
know how
place where people
Film Festival
could
was not a
It
Prize Winner
Sundance
Prize Winner
to read the
doom.
signs of
All in
learn
your
lines
feet,
SIGGRAPH
all
a place to
is
new tech, blow

and make new friends. As
things, see
between 3-D,
editing,
we
all,
new
State of the Art
the
visual effects, video

to blur,
how
to play
to digitally learn
Award Winning
'
and motion graphics tend
need
Full Resc lution
out
well with others. If you find the average
video show,
DV
enough
for you,
creative
muse
at
Expo,
you
just
NAB
or
may
SIGGRAPH
held in San Antonio.
It's all
Transferring to
isn't
35mm, 16mm
and Super 16mm.
find your
2002, to be
just Is
and
0s, right?
25 years experience
CEO of www.cgchannel.com
director and CEO of 3DfVfX Magazine,
Chris
and
is
it's
All video is up-rezzed to film resolution files for film transfer
Tome
scheduled
to
Contact him
launch
at
in
in
film/video mastering & timing
is
_/- PAL & NTSC
*all
~* Title & EFX design for digital & film-
November 2001.
ctomeia cgchannel.com.
115W27st.
New York, NY
to- film opticals
12fl.
*Call to arrange
10001
a screening
212-645-8216
For more information and links to the companies mentioned in this article
visit
wwvv.aivf.org/independent. for more about
SIGGRAPH
in
of our reel
LA 310-821-1962
fhat
our competit
see www.siggraph.org.
Novembei
2001
THE INDEPENDENT
17
GXXtGTTXT
and luckily with a bit of foresight we
had umbrellas hanging from the roof with
side
Screening
in
the Rain
Edinburgh turns wistful
at
by
55
Darren McDonald
We
the Battle Royale logo on them.
it
sold
And before we knew
out the performance.
most of the umbrellas were gone

what we planned anyway."
but
that's
It
had been
Scotland.
this
like
The
summer
all
in
magnificent sky- splitting
sun was only interrupted about 90 percent

of the time by furious bone -chilling rain.
Could
weather never
Scottish
Come
fails.
in out of the rain, see a movie,
and leave with a new umbrella. At

least this was the case for one screenEdinburgh
year's
this
ing
at
International Film Festival.
slightly style -
over-content dystopic film Battle
annual, reported record growth
Or
in attendance?
perhaps
The
slate
possibly
is
transition of
power
programming
due to the
in the festival
with Lizzie
office,
Franke, outgoing after five years,
and Shaun Danielsen new

director's
general manager,
was chucking
it
down
out-
Danielsen
the
is
festival
He's
the
In
chair.
in
Stacy Peralta's Dogtown
andZ-Boys, a
intimate places.
in
horror
and
fan
PAT DARRIN
will
Peter
Jackson element into next year's
thriller for all ages.
festival.
PHOTO
in the
future,
going to be tweaking
undoubtedly integrate
Tony Alva
is
nook and cranny
ing from every
Japan because of its depiction of

youth violence. Diane Henderson,
sy in
says, "It
it
because there was quality view-
Roy ale, which has caused controver-
Cameo Cinema
55th
the
festival,
of the globe?
Oh, the rain. It couldn't have

come at a better time than for the
opening night of the
be the reason that
this
year's
this
There's also talk of more
SONY PICTURES CLASSICS
anime.
Gray skies couldn't darken the
spirit of
moviegoers, especially when they got
But
for this year,
he had a vast
free umbrellas.
array of 18 world premieres out of
PHOTO COURTESY AUTHOR
hundreds of
films in 13 sections.
The
features included
Jean-Pierre
Jeunet's
Amelie, Asif Kapadia's
The
and Dan-
Warrior,
ny Boyle's new pair,

Strumpet and Vacuuming Completely Nude
Kenny
Paradise.
Glenaan's Gas Attack,
about Turkish Kurds in
won
the best
British
feature
Glasgow,
new
award.
It
junkies'
was a movie
paradise
queued
people
and
up
round the block, huddled in doorways anxious to get their next fix
of cinematic
One
about
how
were.
bliss.
strange thing
the
lines
they
diverse
At
12:45
show of Stacy
18
THE INDEPENDENT
November 2001
was
all
AM
Peralta's
Dogtown and Z-Boys one day., on line was

a teenager puffing on a bong and blowing
megaton mushroom clouds of

smoke into the air, right next to a couple
in their mid-to-late 50s, who were
single
remembering being in their teens when

crazed kids were getting on plastic
wheels bolted to plywood. Sean Penn
narrates this documentary of the history
of skate, which includes
some excellent
70s footage of the transition from surfing

waves to surfing concrete. It holds a real
appeal for boarders and documentary
hounds
in
Discounted
Liability
The atmosphere resonated
alike.
Insurance
rows and the rowdy crowd eventu-
all
themselves
ally silenced
for
as the curtains
AIVF Members
parted and they paid dutiful respect to

their forefathers.
The
was helped along by
festival
cross-
pollination from the surrounding festivals
that
overlap and ebb into each other
all
science, children's,
and the
military tat-
and make you disorientated. But
too)
even when you are dodging 15 -foot
on
Debra Kozee, President

30 Park View Place
Staten Island, NY 10310
Temp Tel: 718-447-5177
Cell: 917-304-8843
Fax: 718-720-4418
& blues,
book, international, jazz
(fringe,
juggling
stilts
men
dancing midgets
fire,
painted red doing backflips, or bumping

into
Sean Penn
you
feel
thing
in the local off-license,
enough
tells
you, you are
meant
to be here;
you are home. You may even find yourself

in the healing morning twilight rain,
which washes the remnants of last night's
make way
party away to
come
Another
the
it
its
at
the Patent and
TM
Office.
for what's
to
FILM
73
WANNA
and
Edinburgh
The
Cinema
King's
built in 1914,
it's
BUMPMEDIA INTERNATIONAL
FILM FESTIVAL
steeped in
history. It officially
Cameo
the
independent cinema.
for
(EI Will
U[?V
attraction, beyond the

main venue. The Cameo
called
was
tradition
as
Registered
side
place
Originally
when
is
tonight.
movies, was
is
Ghdecam
because some-
at ease
AMI,
II
2002
opened
1949, just after the
in
This year
at
some people
in
festival started.
the festival, there were
Top Ten
Film
Makers win a $5,000
grant to enter
wartime blue or purple rinsed hairdos

paying homage to
"Two wee old

have a
trip
came in just to
down memory lane, they were
astounded to see how

the
"Biff Film
it.
little
cinema had changed,"
Darrai McDonald
is
Henme 'We
for production with
says
Crimson Media Group
glass
a writer living
Elgin,
more information
GrandPrize $50,000 grant
the plan of
"They were telling

remember when we used to bring
jam jars and get in to see a film.'"
derson.
Fur
Maker Shootout"
ladies
in
Scodand.
sec \v\vvv.i.\lfilmfest.or.uk
November 200]
THE INDEPENDENT
19
become Johnny's
ably guess,
can prob-
"fluffer" (you
but there's a definition
at
www.fluffer.com)
In
by
Jason Guerrasio
writer
THEATRICAL
and Jon got the
Sandi Dubowski's feature-
24).
length documentary, which took top honors
at
2001 Berlin Film
the
Andre Dubus,
In the
finely- observed portrait of
Trembling Before G-d (New Yorker Films,

Oct.
Bedroom (Miramax, Nov.
the
Festival,
delves into the complicated world of
reli-
high school.
girl
The
of Vince's
last
item
is
dream in
main
the
point of contention in the film, as Vince
out to knock Jon off his
is
self-satisfied
perch and get him to admit that he was

less
23).
Inspired by the stories of the late fiction
than gentlemanly years ago in
his
dle class
sudden
New
Bedroom
is
an upper- mid-
England family faced with
tragedy.
The
film
marks the
writ-
ing and directing debut of actor
Todd
Field (Broken Vessels, Eyes Wide Shut) and
stars Tom Wilkinson and Sissy Spacek as
parents slowly succumbing to their grief,
gion and homosexuality, specifically, the
but not being able to share
and lesbians in the

Orthodox Jewish community. The film
The
response
follows
to
gays
variety
of subjects over five
from the world's
years,
Orthodox rabbi
Hasidim
who
about
how
the
the Special
Film
Festival.
lesbian
want
just
The Business
to
of Strangers
Much
of the
(IFC Film, Dec.
community
rejects
female response to Neil
be accepted by the world.

is
won
Sundance
2001
married
Orthodox
to a pair of
pair
Jury Prize for Acting at the
openly gay
first
closeted
to
high school sweethearts
story
that pain with each other.
people because of their sexuality, but
LaBute's In the
hope in the film, in that love

continues as gays and lesbians struggle to
understand what keeps their community
Men,
from accepting them.
hotel
there's also
tale
is
7).
Like a
Company
of
Patrick
Stettner's
about two
women in
non-descript
who
airport
take out their
Donnie Darko (New Market Film Group,

Oct. 26). Richard Kelly's psychedelic tale
is
told through the eyes of 16-year-old
Donnie Darko
(Jake
after escaping a
near-death experience,
led by a six-foot
tall
Gyllenhaal), who,
bunny
to
is
PHOTO; CLARK WALKER
do strange
LIONS
GATE FILMS
and troublesome deeds that not only
him but everyone around him. Also

hopping on this magical misery tour are
Drew Barrymore (who also executive proaffect
(Right) Robert
Sean
Leonard hides
his
tions from Ethan
emoHawke
in
Richard Linklater's Tape.

PHOTO: CLARK WALKER
duced the movie) and Noah Wyle.
LIONS
GATE FILMS
Tape
(Lions
Linklater's
Gate,
Nov.
2).
Richard
adaptation of Stephen Bel-
ber's stage play
is
an experimentation of
with digital video, at least in terms
sorts
of using a camera agile enough to
relationship with
woman
Amy (Uma
Thurman),
they both dated in high school.
make
Run
aggression on a local man. Julie (Stockard

Channing) a consummate corporate
climber, and Paula (Julia Stiles), a techni-
whom
tight turns
The
twists
In Richard Glatzer's satire, gay porn star
have had a bad day and so
Johnny Rebel (Scott Gurney) is, in fact,

straight. He becomes the focus of obses-
drinks at the bar they start to play cruel
and keep up with complicated

of dialogue. The whole scenario
takes place within a dimly-lit hotel
room
(Robert Sean Leonard)
and
with Jon
Vince (Ethan Hawke) practically bouncing off the walls as they spar
and
physically
ousies.
over
Most of these bad
drug dealer and Jon
show
20
verbally
feelings
from Vince's end, since Vince

less
long-held
is
is
in
jeal-
come
an aim-
town
to
his first film at the local film festival,
THE INDEPENDENT
November 2001
Fluffer (First
sion for
moves
to
Sean (Michael Cunio), who

L.A. to become a big Hollywood
star only to get

ly
Features, Nov. 16).
cal assistant
Julie has just fired,

after a
and merciless head games with

drinker, Nick (Frederick Weller)
few
a fellow
TELEVISION
sucked into the underbel-
of the porn world. Sean gets a job as a
cameraman on one of Johnny's films but

soon becomes more involved in the picture
when he
switches
job
titles
to
David
Mamet Marathon (Sundance
Channel, Oct. 28, check local
The Sundance Channel
pays
listings).
homage
to
legendary writer, producer, director David
Mamet with an
American
evening movie marathon:
Context
T
House of Games, The
Buffalo,
When
40 WEST 27TH STREET

2ND FLOOR
NEW YORK NY IOOOI
Bough Breaks (PBS, check
the
U Q4 O S
Tages
Postman Always Rings Twice.
www.bravofilm.com
local listings)
Three Missouri
highlighted in
Jill
Evans
families are
and Deed
Petzall
Roger's documentary about the lives that

are affected
ed
when mothers
are incarcerat-
for non-violent crimes
(drug abuse,
The
film looks at
stealing, prostitution).
the grandparents,
social workers
parents,
foster
who now
and
are responsible
But the main
for children left behind.
on the children themselves

most of them under- educated, living in
poverty, and extremely violent to everyfocus
is
one around them. The question the filmmakers raise is if the justice system is perpetuating the problem it is trying to pre-
48x44
Sound Stage Rentals
X 28' X 14'; 600 amps;


BetaSP, W, S-VHS; ABC

start to
The
5Nov.
and
a sister, their spouses,
dren coming of age in

world.
The main
(Stephen
an
Dillane),
things in
es."
life
With
&
grip packages
in
Williamsburg
Fax: 212 532
0444
www.contextnyc.com
their chil-
SURVIVAL
Edward
is
anti-Semitic,
Though
he's hap-
mercerMEDIA
ENTERTAINMENT
MOTTO:
he indulges in the finer
married,
pily
212 679 9779
challenging
character
racist, anti-intellectual.
Tel:
718.384.8300
19).
Howard's family epic

about the Cazalet family and their struggles during World War II is a six-hour
drama that centers around three brothers
and
Elizabeth Jane
stage rentals
and IndependentsxWelcome
Located
for Video/Film;

Cazalets (PBS, Nov.
lighting
Artists
Audio Services
ADR; Music
of their mothers.
first-time clients.
vent by leaving more than a quarter of a

million children to follow in the footsteps
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We produce
w#H
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_3&*"24 sound stage
34'
212.219.
during his "business lunch-
war dawning on the horizon,
the Cazalet family decides to retreat to

their parents' country
can deal with
home where
their family
Sound
VO
3776
design, editing and mixing
recording,
ADR, and
foley
they
problems dur-
r*++^^^^^!
IllU&GiT
Original
ing a time of war.
Open Outcry
(PBS, Nov. 9)
fascinat-
DVD
authoring
INSURANCE
ing look at the high-speed, high-powered
trading floor of the "Merc,"
only a workplace
full
which
is
not
of pressure and per-
severance, but a self-contained culture,
with
its
own means
of communication,
values and code of conduct. Jon Else's

Alan Berliner
The Sweetest Sound

FAIRness
& Accuracy
in
piece paints a compelling picture of sud-
den wealth, equally sudden disaster, and

grace under pressure as these warriors of
Trembling Before
the trade
room
floor
do
battle with bil-
Reporting
Counterspin
Robert
Clift
& Salome Skvirsky
Stealing Home:
is
an
intern at
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Investigation of a
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MERCERMEDIA.COM
November 2001
THE INDEPENDENT
21

Thomas' conscious
look of a hand- cranked silent camera.
"The
short
initial
made
concept was a 10-minute
exactly the
been made
way
would have
it
Thomas,
though the film eventually morphed into
more of an homage to silent film.
A
Milt Thomas doesn't seem
like
ticularly old-fashioned type.
He
1920,"
in
friend
recalls
Thomas
pointed
to
known
the
like
ties
And
Inch.
Thomas
Hedwig and
most past
make the project more appealing when Thomas applied for
after
grants from gay organizations
San
such
as
line
Fund, which became a
Just as innovative as
has devoted himself to a project
Thomas' Claire is a 60-minute silent film

shot on a '20s-era hand-cranked Mitchell
Claire to
Standard 35mm. After years of struggling,
appears.
for
in
November
Drawn from an
donate
bamboo
Claire
rustic
Claire
of
Milt
ThomaS
cinema.
In
version,
the
Thomas'
moon- child
Stan-
Mitchell
dard model, used
timeless fairy tale

classic
Mary
by
Claire
Feaster
Fick-
Charles
Rosher.
in a
The cameras had
corncrib and adopted
a production run
Gallego)
is
found
(Sister
of about 2,000 from 1921 to 1970, which
Missionary E Delight) and Walt (James
meant Thomas could conceivably find

replacement parts. He eventually hooked
up with an eccentric North Carolina dealer of antique still cameras and turn-ofthe-century motion picture cameras.
But finding the camera and actually
shooting Claire on a slim but imaginative-
two
by
men,
elderly
who
Ferguson),
Joshua
live in the
Appalachian
human
countryside. Claire soon grows to

size
and Joshua and Walt
a string of supernatural
though
raise her,
and
tragic events
intervene to complicate a happy ending.
The
on
more
film relies
telling as well as
silent
film
tears,
or
lagoon where the
film's
Water
story-
fantastic images
moon
luminescent
so
ly
an opulent
Nymph
employed $50,000 budget was only a
small part of a complicated process. Shot
over a week in the
summer
of 1997 and
by
at the
and
with
its
gay
expects to tap
publicity
of regional gay organizations

begins
with
identifying
closely
Thomas
into the resources
cameraman,
ford's
by Felicia
(Toniet
by the fact
diagnosed
And
issues,
Americana with
and
was
partly
was
script
AIDS.
stalk,
film
decision
The
Thomas's boyfriend
that
"Kaguyahime," in which an elderly
elements
organizations
where the
time he was working on the
ancient Japanese fairy
couple discovers a tiny moon- child in a
blends
city
plans
proceeds from
all
AIDS
each
prompted
85 -year- old Rial to Theater.
at Atlanta's
tale,
debut
He
the film's exhibition.

to
set the film's
Thomas'
story line are his ambitions for
that can only be described as antiquated.
Thomas
Francisco's Frame-
sponsor.
Angry
the past five years,
for
yet,
films.
This approach to family also helped
the
a paris,
the
this sweet, nostalgic
of loving alternative family absent from
premiere of John
local
Mitchell's
reshape the
environment Thomas imagines the kind
for organizing carnivalesque par-
Cameron
Within
didactic way.
an openly gay Atlanta bon vivant
all,
effort to
notion of family in a subtle and non-
machine
when
it
cross-country tour.
Despite his
modern
attitudes
and edgy
something old-
art-school appearance,
fashioned and tender lingers from

Thomas' past and helps explain why he is
attracted to such an outmoded art form.
The name of Thomas's production company, Put Down the Plow Productions, is
a nod to Thomas's great uncle Milt, the
black sheep of the family.
money
that Uncle Milt
allowed
him
to
buy
left
It
was the
Thomas
that
16mm camera,
his first
but his influence continues in other ways,

too.
As
family lore goes,
one day the
teenage Uncle Milt paused from his

sweaty labor in his family's
He
fields to lay his
two weeks in winter/spring of 1998, the
plow down.
Rein-
remainder of Thomas's time has been
up.
Midsummer Nights Dream, and
spent devising creative ways to pay for the
eventually winding up as a labor organizer
the off-kilter vision of Canadian filmmak-
postproduction, negative cut, and prints
in Texas
Dancers perfom
suggesting a surrealistic
hybrid of Georges
hardt's
Melies,
Max
Guy Maddin.
er
Thomas'
silent
of the film.
initial inspiration for
feature
making
came from an unusual
Thomas
estimates the total
Claire
is
not only an
experiment in outdated film
Hollywood production. While living in

Thomas saw Francis Ford
Japan,
also a vehicle for
Coppola's
Bram
Stoker's
Dracula and was
struck by a sequence that mimicked the
22
THE INDEPENDENT
November 2001
conveying
American men and the

daughter
they
styles,
but
his politics.
two rugged,
delicate Japanese
adopt
and
"He would
source for an independent: a big-budget
Claire's "alternative" family
Uncle Milt ran
are
part
of
you want
to his
me
say,
it
Navy,
nephew.
aside,"
Thomas
'You can be whatev-
to be. Just listen to yourself.'"
Felicia Feaster
and
life
pull
remembers, "and
er
off to join the
extolling his follow-your-
dreams approach to
cost for Cîre at $80,000.
For Thomas,
never returned to pick
is
a freelance writer on film
art based in Atlanta
and
of Forbidden Fruit:
The Golden Age
the co-author
of the Exploitation Film.
John Langley has taken a lot of bash-
A&E
tem
ing over the past 14 years for creating the
ductions.
Fox series Cops, which has been credited
"We
among other
with,
Western
things, the downfall of
What
civilization.
rarely gets credit for
the
show
revolutionizing the
is
way Americans view law enforcement and

criminals, mostly by filming these two
are, for better or
opposing forces as they
no
worse, with
Langley
this
interference.
time with an always -on digital cable
network
the
Networks and
dedicated to
will
be
By
things crime -
all
with the exception of
related
be
will
scouring
fit
earth
the
for
the genre," says
Lee. With 168 hours of programming to
found
for a
root.
it's
experience
the
show following
show with
they
just the cops
just
it,
have
spirit to a
tap into
is
been
miered
and
which happens
timely
to be
network
into
While the line-up of the

yet, there's at least
one given:
will
be endless episodes of Cops.
There
will
also
like
be syndicated reruns of
TV
Beat,
Police
shows and new ones

magazine -style
series
ing crime-related news,
24-hour
County
really the
most popular genre
historically in books, movies,
and
televi-
Doug Lee, general manag"Where Court TV has
sion," explains
and
covering
trials,
ment channel
we
will
be an entertain-
that will have both fiction
and non-fiction 24/7."
And
after
Langley
will
independent
reports
and
his
new network
producers
films,
with
site fea-
manhunt
as a
purchased the
channel
satellite providers
site
for digital cable
and
regular basic
available.
still
"I
of
started
reverse
"It's
to
much
to
do special
the
same
sole goal
go
a little
and you can get
beyond
much
it
he
says.
you can see
better take
on
society."
When
he
created this formula, he
first
thought
says, "I
was a genius." Then a
the only story
about the Kansas City police
Order,
department.
ite,"
Langley
a hotshot,
"I
didn't invent
now knows.
and then
"I
cinema ver-
thought
was
discovered that
was beaten by 20 years." He adds, "What

did do was popularize video verite" tor
know
network
television."
says.
In his next incarnation, he hopes to
of a dot-com
popularize this same aesthetic tor cable
convergence," Langley
and the Internet, merging entertainment
a channel."
the law dates back 20 years to
Blue.
you look
when he
documentary called Cocaine

He was teaching classes at the
a
and information, and generally following,

he
says, "the Aristotelian
notion that we
should teach and delight."

Scotl
sys-
you
Crime.com with the
company becoming
directed
Cops,
see us airing our dirty laundry,"
infor-
Langley's love affair with both sides of
keeping Cops a closed shop,
open
"When you watch
beneath the surface and you can see all

kinds of things about our society, you can
the psychology and sociology of crime
cable in the few markets where slots are
er of the channel.
12 to 14 hours a day of courtroom footage
it
in his role of democratiz-
cable outlet.
March when Barry
USA Networks
to launch
humble
Wiseman's 1968 documentary Law and
Diller's
is
show has lasted this
pleased that the
near Phoenix, Ariz. Langley 's
plan progressed in
"Crime
International
few seasons into Cops, he saw Frederick
with 30 years experience in the L.A. sher-
department.
TV
producers on the board of trustees of the
webcam feed from Maricopa
live
jail
Cops into
fledged
mation, and Crimecam, a four-camera,
hosted by a retired homicide detective
iff's
it
full-
tures break-
There
crime -related
to get
"If
The
completely set
isn't
air,
Langley, one of the few commercial
with a long-
morphing
strike
the line-up for 1987.
Crime.com,
term plan of
writer's
pulling scripted shows off
ing verite filmmaking.
television."
channel
Fox network looking

programming, and
long, but
try
it
took a
for
is
to minimize
It
ling
Web at www.
venue,
for
combination of the fledg-
cept on the
the
pitched the
them passing on
his
involvement and
genre
the
con-
crime
to be as pure as possible given
the
networks
to
"My
from
another
idea
taking the Cops
Langley pre-
always,"
Los Angeles.
objective has
editorial
says
58,
in
to
He
the
has always dealt with
Langley,
office
window
more than once.
24-hour cable channel
Last June,
experience.
enforcement
universe."
of
Crime Channel
The
Scott Castle
about the extreme highs and
"TV
and do
seven years, with several
PHOTO: LISA HERGO/FOX
law
what
to feel
about
feel,
Americans' inherent curiosity
human
what they see
see
thought of yet."
TV. The idea
lows of
police officers took
genuine pure ride-along. Not editorialize
John Langley
to
heart
documentary or reality, or
whether it's some form or genre I've not
courtroom proceedings, which

already have a home on Court
is
unique,
Langley recalls that he wanted "to do
our launch," adds Langley, "but
we're wide open thereafter, whether
filming,
pounding, and educational, and the idea
much
set for
During the
Langley went along on a police raid and
every week, independent producers
should take notice. "We're pretty
his doctorate in philoso-
aesthetics.
John Langley
through
of 2002
spring
phy and
acquisitions that really
fill
working toward
appropriately
called,
enough, The Crime Channel.

The new venture launches in
USA
for their pro-
scripted,
about to break ground again,
is
and CourtTV use
)astle
University of California at the time while
is
the assistant editor at
The
Independent.
nber2001
THE INDEPENDENT
23
28TH
FILM
&
FESTIVAL
THE NORTHWEST FILM CENTER*PORTLA

OREGON*NOVEMBER
PORTLAND,
2-10*0N TOUR 2002
AYS OF THE MOS

'
'TSTANDING NE^
ANIMATE
ENTARY Afs
"VE,
=? * Wi Bft YIJ
"
PAST FESTIVAL JUDGES
FREUDE BARTLETT
PHIL BORSOS
ERNEST CALLENBACH
JOHN COOPER
KAREN COOPER
FRANK DANIEL
JO ANN DANZKER
STEVE DEJARNETT
TODD HAYNES
JIM
HOBERMAN
DAN IRELAND
EDITH KRAMER
STAN LAWDER
TED MAHAR
LEONARD MALTIN
DAVID MILHOLLAND
MARV NEWLAND
MiOlSHBI
OJBIN
TINEVACHON
IAN SANT
VEEDER
CARMEN VIGIL
AMOS VOGEL
MELINDA WARD
ELLEN WATERSTON
GENE YOUNGBLOOD
2001/BILL PLYMPTON
{NATIONAL FILM FESTIVAL
NORTHWES
WWW.NWFILM.ORG
(503)221-1158
On Their Own
On the Oregon Trail
Honk
Portland:
The joke among Portland

to
such things
is
mercial movies
made
weather plagued
then
star
that there
there
who pay attention
confirmed recently
com-
all
Oregon
his arm.
film-
on
its
at
Oregon
years,
way to
rising
on the arts, after a long rest

the bottom of the list.
In June, the state House of
ing
on
the fund
artists
have
awards,
existing
Oregon Arts Commission,

a $5000 media fellowship
once a year; the
Regional Arts 6k Culture Counthe
(RACC)
cil
almost
unanimously the
which
passed
Portland,
in
$20,000
an estab-
offers a
grant
to
makers
in this city of half a
Oregon Trust
million
and they are taking
Cultural Develop-
and
not only by
ment, which could
Council
producing projects but also by
end up providing
Humanities
filmmaker;
lished
for
PHOTO COURTESY DAVID WALKER
1
'0*1
advantage of
1*1
&V
m?\SuVs. Si
it
and distributing
own. The field is
Miranda July
by
exhibiting
nearly $6 million
them on
in funds
fueled
their
who
(Joanie4Jackie.com),
tributes films by
women, and
Peripheral Produce,
anthology
a roving
recent
of
dis-
films
curated by filmmaker Matt
McCormick, who
Rodeo
The partners
of the
Filmco
But
that's
of "cultural" license
instead be split up between state
bill.
really just
the
arts
organizations,
county cul-
competitive grant fund.
reviewer
for
the
and
a tremendously rich
Cultural
director
Institute
Bonnie Conner,
"We were
And
member
of the
developed the
that
at great risk of los-
ing that which

ture.
Tamastslikt
says
that,"
task force
movie
makes us a culOregonians to
for all
value our lives gives us hope."
exhibition opportunity
national, held at the Clinton Street Theatre in southeast
"We decided
serve
yet for specific projects, but will
plates,
tural groups, Indian tribes,
new
"We have
landscape and we have to pre-
(www.rode-
the mix by joining forces with Jonah Loeb of

IndieDVD.com, a Portland-based company that issues
independent and underground films in DVD. They've
formed Ground Floor Cinema, a continuing series of short
film packages by independent filmmakers, both local and
local filmmakers,
sales
donations,
steers
also
to
Portland. Walker says,
and
partnerships, tax-
private
ser-
vice awards.
will
beginning. David Walker, the
Willamette Week, just added a
good
deductible
and
out cash and lab
starting
The funding
come through
the
for
the Northwest Film
among other initiatives.

The money is not earmarked
ofilmco.com).
new
Ground Floor Cinema spark

Portland's exhibition scene
in 2003.
Oregon
the
Center, which givses
each year
projects,
for
to rely
including:
which awards
Representatives and Senate
wide open to independent
is
up the ranks of per capita spend-
when bad
shoot of The Hunted, and
Benicio Del Toro broke

field
Holm
a curse that hexes
Bill Friedkin's
That leaves the
Love the Arts
residents
is
money from
Since
You
won't be available for two more
D.K
By
If
that there were a lot of
and we wanted
many
Portland
Club: The
Women
has
on Oregon Public
aired
of Rockabilly
Broadcasting, and should find
PBS
way
them together as we could and have a showcase of their

The distribution network for both short films and
cast
independent films can be very exclusive."
recent work
work.
the Can
Beth Harrington's hour long

documentary Welcome to the
of
to get as
in
to
early
its
for national broad-
2002.
in
Cinema-
tographer Eric Edwards's most
Zak Margolis' Drowning Boy
Columbia,
on the indie comThe Slaughter

Rule, starring Ryan Gosling (The
Believer).
'Vanessa Renwick
Washington and Oregon.
admits to having four films in
alerted the United States
"The Northwest Film Center does the most in terms of

exhibiting regional work," says animator Chel White.
And in addition to the myriad pubs and coffeehouses
that screen local works, the art collective Red 76
(www.red76.com), is currently putting on screenings,
including several live film scoring nights. Hollywood
Theatre has an invitational screening on the first of the
month. And The Charm Bracelet (www.charmbracelet.org),
various stages of completion, one
the world) to the threat of Hitler
The Northwest Film Center

that lasts several
the
Northwest,
also has a traveling tour
months and makes 20

including Alaska,
Montana, and Idaho,
as well as
stops throughout
British
a film/art installation enterprise run by Brad Adkins, pre-
sents
monthly expositions involving
"All of these people are

ings," says director
film
and videomakers.
doing distribution and screen-
Vanessa Renwick.
D.K'.
Holm
is
"We
are blessed."
writer based in Portland
is
ing-of-age feature
of which
is
Critter,
about wolves.
Zak Margolis's current work
in
is Drownmg Boy an animated work that can be viewed

in
installments at www.endsound.com/drowningboy. 'Jim
Blashfield is working on Bunny
Heads, for which he just received
progress
grant.
Ex-Nortbwc.st
Center curator
is
Film
Howard Aaron
completing a feature length
documentary
called
Hollywood
Confronts
trays
which por-
Fascism,
how
actors,
screenwriters,
musicians,
and
directors
(and
and fascism in the 1930s. Patti

is wrapping up editing on
Lewis
her documentary, Finders Keepers,
about
all
kinds of collect :>
Cable access advocate Cynthia
Lope:
is
working on
satire for Pott land
called
ing
on
Access
They Would Be Senators.
Animator Chel White
script
political
Cable
is
work-
a feature-length narrative
he intends to direct called
Path of Bees.
November 2001
THE INDEPENDENT
25
M ARLA LEHNER
BY
Jonas Mekas THE FILMMAKER RE-EMERGES
Jonas Mekas says the New

York film world thinks of him as a
maverick, not a filmmaker.
That might just be the right

word for Mekas, who has been
steeped in the American independent film scene for over
years. Depending on whom you
ask, Mekas might be labeled a
journalist,
organizer,
champion, an
a film
an
activist, or a preser-
Only a few followers of

work call him a filmmaker
first
and most of those reside
vationist.
his
outside the borders of this particCOU
ular country.
"Here they don't look

films.
They only hear about
that," says
Mekas,
his
I'm not a filmmaker at

is
activist
Lithuanian accent
ing immigrated here over
Here Mekas
my
me as an
best
50 years ago.
still
"I
doing
this,
doing
strong despite hav-
would say in America
nuclear family.
The
nearly five-hour opus was constructed from
40 hours of footage of family scenes, and though there are some

traditionally weighty
moments, such
as
Mekas' wedding day and
make up
the births of his children, the images that
all."
known
as the director of
Anthology Film
Archives, which preserves and screens independent films, and as

the former Village Voice critic whose
galvanize the fledgling
WvriLM MAKER
at
New
column helped
publicize
and
York avant-garde film movement
in
of the film are of
life's
everyday activities
friends, petting the cat, picking flowers
the impact
"Jonas
is
the backbone
eating dinner with
with his children
and
startlingly profound.
seldom so emotionally direct
is
as
he
is
in this film.
It's
the 1960s and 70s.
enormously moving," says E Adams Sitney, a professor of film
Now, at 78-years-old, with over 22 films and 13 books of prose

and poetry behind him, Mekas is gaining recognition for his film
work stateside as well, thanks to his latest effort, As I Was Moving
history at Princeton University.
Ahead, Occasionally
might be
his
Film Festival
Saw
breakthrough
last
February
which
Brief Glimpses of Beauty,

film.
it
When it was shown at
just
the Berlin
was received with such enthusiasm
film diaries, but the scale
Mekas
not
is
"because
it is
like
it
many
audiences,
is
unique. "The content of this
any other film that you can talk about," he
takes 20 to 25 years
and
it is
through the years and nothing
much
that
London, Buenos Aries, Vienna, Vancouver, Denver and Sao

Paolo have vied for the film.
Children grow and seasons change. The content
As I Was Moving is the latest in a series of diary films that have

become Mekas' signature, each focusing on a distinct period of
his life. This time, Mekas has turned the camera's lens on his
anecdotes."
26
THE INDEPENDENT
November 2001
goes
from any dramatic film that follows a certain
says,
about family, a family
that several screenings were added. Since then, festivals in
As
unique."
recognizes that this film, which has elicited emotional
responses from
film
"There are people who make
on which Mekas does
is
happens.
very different
script, stories,
and
Was Moving has the feel of a person sifting through an

mementos trying to piece together his life. And it
attic full of
makes
Mekas
sense.
end of an
coming
is
to the
His daughter was
era.
recently married. His son
left for col-
lege last year. His 27-year marriage has
And he's planning to move out

SoHo loft where he has lived
ended.
of the
With
since 1974.
he seems to
this film,
be taking stock of what he
the
calls
Through much of it, Mekas
the
lulls
But
instrumental music.
his
which sound
stilted
the kind
loved one make
mate whisperings
of per-
for the
most powerful moments.

"I
have not been able
my
out where
really to figure
begins and where
life
"I
have never been
able to figure
all
out, what's
what
Scenes from Mekas's life

form the five hours of As I
Saw
Brief
(middle) John
in
Kennedy
F.
almost exclusively
captivating, unselfconscious presence.
Jr.
Mekas' 2000 film This
Hollis, too, acts as if there's
Side of Paradise.
nothing
unusual in being filmed during the
most personal moments, such
naked on
ing in bed
The
as lay-
sunny morning.
family's ease adds to the sense
that the audience
witnessing the
is
"He has
make me
all
Oona
one,"
but
films,
confides.
this
is
but there
cry,
a lot of other personal films
something different in
is
an extra personal diary
pages of the diary. This
Hollis Melton, Mekas' now-ex-wife,
although the scenes were
seemed
film.
his
me
to
film.
"We
is
like
is
the lost
careful to point out that
whole
real, as a
don't
was Mekas' version
it
did have a beautiful
that [the film] was his fiction.
But that person,
This
the real thing."
is
of their family history.
this
a natural progression in the diary
"It's
know
if
was
she exists or
certainly aware that the images
is
are his perception of the past.
inary world,
voice-over.
which
to
me
is
"What you
and
life.
..But
she exists in
if
their
all,"
as anything else
is
sequence
my
imag-
he says
in a
under the sun."
Mekas the act of filming and stringing images together

seems to be his method of coming to terms with his past. Two of
For
his
best-known
films, Lost, Lost, Lost
a journey to Lithuania (1971-72)
mental periods of
his life
New
years in
in love with the
York were tough, but the
to the culture-hungry pair
(1976) and Reminiscences of
document and
his first years in
return to his native Lithuania, respectively.
dissect
New
when
for Chicago, but
fell
who
city
their ship
city.
The
early
acted as a university
attended every theater, music,
dance, and film event they had time
for.
Godard and
Truffaut, in
1955 Mekas and Adolfas began Film Culture magazine, which
examined the burgeoning art form. Several years later, Mekas

started "Movie Journal," his weekly column in the Village
Voice. The column received more letters to the editor than any
Voice feature and helped establish Mekas as a seminal figure in
think that Jonas
"I
the most important figure
is
field/world of avant-garde film," says
Amy Taubin,
the
in
film critic for
making oddball
films,
movement
if it
had not been
for Jonas."
Mekas' energy attracted an array of influential people into

circle including
Andy Warhol, John Lennon,
Kennedy and Allen Ginsberg, all of whom appear in his

the '60s particularly Mekas was a powerhouse for the
movement. Among his endeavors were helping to organize the
Jackie
films. In
Filmmaker's Cooperative,
distribution
company,
1962;
in
opening a movie venue called Filmmakers Cinematheque
in
1964; and founding Anthology in 1970.
Although many people see Mekas' organization

important contribution to film
efforts as
tross
an
activist
hampered
most
as his
history, others believe that his
his career as a filmmaker.

its
collection has
around Jonas' neck," says Taubin.
been an
alba-
was up to Jonas to go
endless, endless money-raising thing, which I think, has
on this
harmed him,
"It
certainly as a filmmaker, certainly as an artist, as a
writer, as all those things."
Mekas acknowledges
that keeping Anthology afloat in
difficult financial times
took away from his filmmaking, but
says he doesn't
have any
Now
regrets. "I
would do
bis
that the staff of Anthology has grown,
time to focus on his
it
the same
own
work.
He
Mekas has more
has reels ot unedited film and
he estimates 1,000 hours of video footage that he plans to

into a video diary series. And after all these years, his work
likely slowly
"When
'60s]
edit
will
continue to gain recognition.
other people were getting enormous credit
the
[in
Jonas was there filming, recording what he had to record,"
Sitney says.
"Now
people have
come
to recognize thai this
of the great unique achievements and
it's
one
is
one
ot incredible aes-
thetic intensify."
Maria Lehner
is
Was Moving Ahead, OceasionalK
monu-
York and
his
Salvador Dali,
it
person in the
are seeing
not imaginary at
"It's real. It is as real
bound
way," he says.
mind."
Mekas
brothers were
"In that sense, Anthology and
passage of time.
and they
The
but there would not have been an American avant-garde film
on Mekas' daughter, Oona, his

wife, Hollis, and to a lesser extent, his
younger son, Sebastian. Oona, having
grown up in front of the camera, is a
Glimpses of Beauty.
were given pas-
all
means."
is
until they
the Voice. "There would have been people

it
fixed
was Moving Ahead,

Occasionally
it all
The camera
camps
in displaced person
sage to the U.S. in 1949.
the film world.
the film begins.
about,
remained
in
and
II
it
ends," Mekas' shaky voice narrates as
it
War
inti-
sonal self-reflection usually saved for a

diary or a
an anti-Nazi newspaper. Eventually, the brothers ended up

forced labor camps for the duration of World
Inspired by such filmmakers as

like
when
Lithuania in 1944
the authorities discovered the two helped write and distribute
life.
audience into a hypnotic state with
in Lithuania to a family of farmers.
his older brother, Adolfas, left
landed in Manhattan, they
happiest time of his
voice-overs,
Mekas was born
In 1922
He and
As
iw'I!
a freelance writer
Saw
be playing ax Anthology Film Archives
Nove mlvi
Ul
Briei
m New
m New
Glimpses
of
York.
Beaut}
York City Dec 12 22
THE INDEPENDENT
27
so I'm happy.'
And
thought, that's
how
my
think about
movie."
McNevin may have

that's
no guarantee
gotten an
on the
film,
but he knows
which
he'll get into festivals. Revelation,
set
is
on an underwater society where a young

boy wonders about what's on the surface of the water. There are a
in the year 2276, focuses
few specialty
hometown
out there, and a few
sci-fi festivals
good luck with. Mostly,
he's just sending out applications
ing that he gets a letter in return, even

get in (Telluride was
one of the
"In terms of getting in,
been hoping
I've
for
think
HAVING AN
by
Beth Pinsker
first
it's
and hop-
him he didn't
reject him at all).
if it's telling
to neglect to
"What
quite unlikely," he says.
that people will recognize the story
is
and worth thinking about,
On
festivals in his
of Washington, D.C., that he thinks he might have
if
the execution
raw
is
at
some
solid
is
points."
IN
the other end of the spectrum, twin filmmakers Greg and
Gavin O'Connor
are trying to pass
on what they learned making
Tumbleweeds to another pair of twin filmmakers, Alex and
Andrew
Even accomplished filmmakers have to apply to film festivals. They might be able to get an intern to do some of the work,
but they still have to fill out the application forms, meet the
deadlines, send the screener tapes, assemble the press materials,
pay the entry
and do everything that
fees,
And
of film school have to do.
they usually
Smith, so they can get their debut feature off the ground.
The Slaughter
Rule, starring
David Morse and Ryan Gosling,

about
the
same
senior having a tough
He
father
his
ends up get-
ting close to his football
Studio movies get listed in the trade papers and people in the
where do you
them
find
when
for years before they start filming.
few things about
But
somewhere? You
find
festi-
them working in video stores, teaching,

making commercials, syncing sound
in the dark of night in their basements, or holing
tionship
with
dance,"
says
SunGreg
O'Connor, who
up
The Independent tracked down
who have
tures in time for the
fall
a few
in their par-
members of
this elusive
deadlines that could get
them
how
the same process as everyone else.

its.
they plot
I'm very certain that
That
said,
the film
they want.
if it
It
has to stand
doesn't, that
O'Connor thinks Sundance
they'll apply to
"It's
a very
other
American
its
is
own mer-
in."
the right place for
but Sundance
festivals,
story,
on
won't get
it
about the
is
and Sundance
THE FILM SCHOOL GRADUATE
But the biggest thing O'Connor learned from Tumbleweeds
Matt McNevin
to
just
that proverbial fresh-eyed film school gradu-
have expectations that he can repeat that
is
not
"A lot
of great films go to Sundance and don't have that experience
mailed the Sundance entry for his 27-minute science
fic-
that
morning. "The
and has been inspired by
tiger
Dan-
an
made
arts
Matt McNevin's Revelation.
Lady Fairchild
Tumbleweeds."
a Mr. Rogers
"It's
never been a real priority of mine to
his
documentary
believe that
and
if
short,
their film
McNevin says. "That

made me feel really sad.
Festivals are great, but
But then Daniel
Suquamish Tribe
it,"
er
'I
movie."
summer,
had fun thinking it up

and I had fun making it,
THE INDEPENDENT
make
or
is
going to a festival that they'll be cat-
apulted into some orbit that heretofore had been inaccessible.
trashed
says,
let a festival
who is in the process of submitting

Boom Town, to festivals. "Often, people
break me," says Bryan Cole,
mobile
festival
we had with
GETTING PAST THE SHORTLIST
from the land of make
believe,
28
string of luck.
has
from the video store where he works.
calls in
tion short, Revelation,
for
probably the best American festival," he says.
He
who
episode he caught that
iel,
is
what
Amencan West,
their strategies.
is
"But
cation strategies.
into
Sundance, Slamdance, South by Southwest or any number of
ate
orga-
the film goes through
finished shorts or full-length fea-
other festivals in the winter and early spring, to see
is
nizing the film's appli-
houses writing their next screenplays.
group, filmmakers
a rela-
emerging filmmakers before they even get to
audiences can see their work at some film
life.
we have
"Yes,
editing other people's films,
ent's
after
dies.
coach and learning a
industry talk about
val
year
sort
of obscurity.
that stage
is
school
and Andrew Smith's The
Alex
Slaughter Rule.
first-timers fresh out

toil in
high
cuit.
November 2001
you
still
have
Boom Town, which

in
to go out
is
Washington State who
will actually
and make anoth-
about members of the

sell
fireworks in the
be Cole's fourth short on the festival
This time he's hoping to make
it
to
one of the
cir-
top-tier fes-
and not
tivals,
just
on
he has
to the shortlist as
Sundance
at
project himself,
make
to
previously.
New York-based Mixed

providGreens and
Cole has a company behind him
good
Arnao
main concern
says his
and get
sale
go back around and do the
bummed
Boom
Bryan Cole's
he
as
at least in terms of getting
onto,
out paperwork and things
because
if
He
won-
also
"I
think
think you get. You're not on the radar."
all
of
my
strengths,"
other issue
is
THE PLIGHT OF THE META SHORT
minute
at a film festival, but director
silent
continue
will
life
its
at one.
short
Sundance, and they can

out for political reasons
says
to
the
of a festival like
over you, and then you can lose
fight
list
He
it
happened
or as
pion was absent the day they decided his
in his case, his
cham-
fate.
money.
my career, I definitely didn't pound the pavement

exhausted my funds on making the movie."
think early in
it
festival-
a crap shoot."
you can make
That's
this.
says.
The
"It's
Joseph Arnao's Into the Body.
showmanship that
"The more passive

you are, the less chance I
life
Arnao's past
taught him, however, that,
he
its
apply
didn't
thought we had
filmmaker needs to get into
not one of
sure that
applying experiences have
plays into
isn't
but
Tor-
connections
the
there's a
Weiss
into
it
like
a deal."
they might help him
the big festivals.
Curio started
we'll
had the
bigger festivals
with
that
opportunity to get
goes through the process,
ders
because
OK,
says. "I'm just
Town.
like film stills.
"I
a sale. "In order
he
festival route,"
that's
him some support
ing
is
exposed, we're thinking,
it
Adrienne
The
10-
THE FILM FESTIVAL BACKUP PLAN
Mark Moskowitz is a film festival skeptic. His friends keep telling

him he has to submit his just- completed documentary to
Sundance and other festivals, but he's not so sure. First of all,
Stone Reader
Mossman, the
sepia-
short
was
on the fly at
2000 Newport
hours long and he's loath to cut a two -hour
five
is
The
version.
piece
about the filmmaker's search
is
reclusive author of
Dow
for
The Stones of Summer, which
toned
completely dropped off radar screens after 1972, along with
filmed
Moskowitz asks are: What makes

people write, what makes them
stop and what motivates all of
the
Film Festival as part

of the festival's enter-
came
tainment. Weiss
five
actors,
"I'm 48 years old.

lot of
in-
know
people in the business. To
me
and Aleksa
Palladino, and took
get to one of those people," he
suggestions
Adrienne Weiss' Curio.
the
for
The
result
tale of Eros shot at Belcourt Castle, a gothic
who now
Weiss,
tivals.
ball
was a take on the
mansion museum.
teaches workshops for directors, says she
on submitting her
first
short two years ago to fes-
This time, she got a student to do the
Slamdance (and Sundance
and other
are," she says. "I
want
of that
festivals
want
ilk.
too), ResFest, Shorts International,
"I'm not sure what
to apply because
to get the film out there,
DVD
is
is
to
on PBS
to submit to
is
and
A,
****
illir
don' C ,"
"I know Y" u
cart
he only answer is
mos
the
hurts
herait
["What's in a m
"Ronnie Crown "**
Mark Moskowitz's Stone Reader.
or onto
know
in full form. "I don't
What
interested in that because buzz

is
,,.
to get the
Sundance. Some buzz?
now
the value of submitting to
does the buzz get me? I'm not

kills
the mystery.
one of these things
The
idea right
as a fall-back."
festival application
organization in exchange for free tuition. Weiss has a plan to apply

to
His main goal
piece as a series
plot at a public brainstorming session.
dropped the
the film festival idea
says.
cluding Glenn Fitzgerald
my
expectations
didn't last time.
just
meet other filmmakers."
AFTER THE SHORT CIRCUIT
You make some shorts
in film school that
go to a few
festivals
and
Then you go out in the real world, where

you have to pay for your own equipment, cast, props, and support yourself at the same time. What Joe Biancaniello hopes i>
pick up a few awards.
the next chapter for him, after having three shorts our there,
THE BEST-LAID PLANS...

Into the
Body was
human
originally
beings and
With
all
says Joseph
supposed to be
one -hour compan-
how
"It's
Arnao, the owner of L.A.'s Precision

is
it's
about
they can be transformed with technolo-
the stem cell talk over the summer,
duced the project and
is
that his feature, Mary/Mary, will hit the circuit and get distribu-
ion documentary to Steven Spielberg's A. I., since
gy.
its
questions
us in terms of the arts?
with a Sony PD-150
and
The
author.
overseeing
things didn't turn out as planned,
its
a hot topic,"
Post,
distribution.
who
pro-
But because
and because he financed the
tion, giving
him the
ability to
be a filmmaker full-time instead of
teaching editing.
The 90-minute film is about the tear ot HIY among tour

young adults who end up spreading paranoia from one person to
the next
through
casual conversation
intimate contact only, not
just
swapping
instead ot swapping any diseases. "We've
been working on finishing the
film tor that
November 2001
Sundance deadline;
THE INDEPENDENT
29
remains
it
golden
that
he
But he
says.
get
on
he would give up
on what
fes-
right
for
The
about getting in
of theme and audience, instead of just going for the big score.
ones
know, but you get the impres-
are
you might know
Amy
hoping
that's
Davis Taylor
is
The most
it.
that
no
tees.
one
there
guaran-
And
no
that
festival
the panacea.
is
going to be the line on her
SUNDANCE OR BUST
feature, Five on a Futon, about
Nancy
the active
that
furniture
money stashed in it. "I don't

care who makes it first, drag
us along," she says.
and
apartment,
her
in
home
how
Her
experience
was with
saw her
on
Amy
iFilm. Still,
research
They
is
Davis Taylor's Five
Thousand
on a Futon.
that the acceptance of digital films
nition," she says. "It's kind of expensive. I'm
plus that
little
And
is
not good.
down
her
try to
send out
producing
still
all
all
the requirements
extra something. You need something to stand
Her hook might
out."
be, at the
end of the
7 2 -minute feature to a short.
barely a feature in
some
Play-
in 1990,
Pieces
As
day, that she cuts

it is,
she says,
"It's
shopped
the Film-
at
film
shot in the dark whenever you send your film out there,"
months
in
to hear
focuses
will
work
families that
The Sunshine, is about

Bowery in Manhattan.
cuit,
30
had
a great time at
new
him
In, is particularly anxiety-filling for
on three
for
to screen the film
out." Bertelsen's
film
since
it
have adopted African-American
children, including his own. His current film
"I
"You can wait
and bypass other opportunities
hopes that one thing
Outside Looking
Phil Bertelsen.
on the
a hotel for transient
festival cir-
men on
the
Double Take, Newport and Woodstock,"
THE INDEPENDENT
November 2001
Kelly's
Downside Up.
was then rejected
in final form.
"Sundance
just
so huge, and
is
don't even
know who
to call. I'm
going to be dialing numbers," she says. Kelly doesn't
what her odds
"But P.O.V,
documentary filmmaker
Nancy
know
are even though her project comes with the pedi-
gree of being funded by
people's books."
PRIORITIZING THAT WISH LIST

"It's a
of
makers' Lab, but the
summer's P.O.V.
says
last
Gold, which she work-
say you can submit, but these films don't get a lot of recog-
the materials myself.
American
house feature
not sure what's next.
she's
"My
trailer
her
after
Camp
at the Mill
San Francisco. So
to get into
props budget of $100. She got
Avid Film
outside of
she's trying to fig-
ure out
Sundance.
a scout at
hopes dashed."
have premiered
films
Valley Film Festival near her
dressed several scenes on a
an editing "scholarship"
my
Kelly wasn't aiming for the
economy. All her previous
now
Taylor filmed the movie in
DV
don't get
Sundance deadline when she

on her latest documentary, Downside Up, about
how a Massachusetts town created the nation's largest contemporary art museum in an abandoned factory to try to revive its
has
secretly
started working
of a piece of
life
In.
has been to
learn
that
Looking
valuable lesson for
me
of,
some of them soon.
Phil Bertelsen's Outside
That's
says.
about
and the ones with nobody you

sion
he's eligible
you're
"if
is,
he
at big festivals: the
which
it
that
Barbara Kopple,"
THE DIGITAL DIVIDE
with people you've heard
Springs in 2002,
help
list
only way
his
film in terms
will
on Sundance.
to feel confident
Joe Biancaniello's Mary/Mary.
a great oppor-
if
be
tivals will
There are always two kinds of features
now
doing a
now
Hot
actually concludes with
to apply to
lot of
It's
but that's just the start of a festival wish
P.O.V.,
adds that he's
research
can.
if I
He's sending his film off to Sundance, hoping that
opportunity,"
Biancaniello
with the work
says. "I like traveling
tunity to see the world."
for
ITVS and
series. "If
is
being considered for next
they don't accept
example, they pay a
it,
oh
well," she says.
lot of attention to that sort
of thing."
All in
all,
she wants to take her film to festivals because she
thinks the experience
is
important. "In the beginning, festivals
were building the indie film audience.

but the
festivals still cultivate
it
otherwise see those kinds of films.

it,"
she says.
"I
Now
that audience exists,
and bring people
They
in
who
wouldn't
get children started
on
think they have something important to con-
tribute."
For more information about each of these films
and Web
links see
www.aivf.org/independent.
What
When
Expect
to
You're Accepted
>*^-*w
Kyle Henry
High entry
fees,
jaded crowds, boring industry panels mod-
erated like gossipy People Magazine interviews
film festivals
needs
As much community
cinematic daring, North American
them? Well, unfortunately, we

fundraiser as celebrations of
who
do.
all
LIGHT. For those festivals that pay travel arrangements
who?), see
(like
and how many days
to,
only pay for the celebrity
festivals
self-released
two hour-long documentaries on the
cir-
and more importantly, having worked

festival programmer, here is what I've
cuit in the past five years,
on the other
side as a
learned that might save you some time, money, and
Don't enter just any
LIST.
festival.
know about
reputations of the ones you don't
My
country or region.
the
before you apply.
doc American Cowboy, about a gay
rodeo champ, never got sold but played
We
film festivals worldwide.
derful people,
Check out
list
one won't exclude you from others in a par-
sure inclusion in
ticular
people
covers. Again,
most
bait's transport.
press. Don't forget to calculate the costs of the press
kit. You'll
need about
and
The
majors. Don't go crazy.
than your
As
film.
VHS
five
festival, postcards, flyers,
sive
grief:
Prepare a targeted
of festivals for the upcoming year. Start with 20.
Make
it
Forward
had
and even got paid
at
over 50 gay and lesbian
good time, met won-
a hell of a
for a
few screenings. But we had
some bad experiences too, including print damage and bizarre programming slots. Unless cinema is your church, a 10 A.M. Sunday
morning screening
slot
is
a real
problem
kits for
Add more
could always smell out
There are
kits.
an
article or
two per
and these
festival,
from persistent campaigning with

tacted personally.
If
each
for the
more impres-
press kit shouldn't be
programmer,
few
festivals
more than
that ask for 10 tapes for press, but I've never gotten
mostly
articles resulted
specific reporters that
you get into one of the big
con-
festivals like
Berlin, you should also budget for a

You shouldn't be paying more than a couple thousand dollars for the service, unless again somehow you just
Sundance, Toronto, or
press agent.
know your
film
is
going to find a distributor.
pay them
you to
away very
any
If
festivals ask
to put together promotional materials, run
quickly.
for attendance.
Two
MlND YOUR BUDGET.
and press
tapes
few posters.
the awful films by the glossy press
Make A
how many
there are travel restrictions,
if
the offer extends
have become one of the few places to get your work
seen and sold.
Having
Travel
Typical festival fees for features in the
United States range from $25 to $50. Big ones such
as
Sundance
charge $50 for features, but have early submission special rates
WEEKS OUT. Get
your trafficking info
knows where
the print
is
is
that print there,
ASAP! Make
sure
all
correct so the projectionist/programmer
to ship the film post fest. Find out
late or doesn't arrive at
what happens
if
all.
around $30. For goodness sake, don't pay more than $70!
$100 or more seem
Festivals that charge
like
money-making
scams, whatever they might say about operating costs.

care about filmmakers at
all,
extortion. Better yet, enter

tivals.
Most have no entry
If
they
they'd realize that these rates are
more European and international

fee,
fes-
but send early to avoid high ship-
ping costs. Budget mantra: Enter
save money.
early,
FOOD FOR THOUGHT.

ing,
you constantly with food.
ply
FREE RIDE. Most
costs will involve,
festivals will
among
action
is,
evening
in
San
for
almost nothing. Your
other items, publicity, travel, housing,
transportation, print shipping, etc.
was Cinequest
pay
Jose,
One
bright exception for
which put me up
in a fancy
tivals will
if
you put
Many fes-
help locate guest housing for you, or at least a couch,

in a request well in
tivals,
almost
a pattern
advance.
festivals/markets
may
ed in the program. Don't do
it.
ket guide will not help.
scam
It's
If
nothing
is
being sold,
where
is
and booze you've been waiting
you'll
Sonic
for.
fes
Can you
see
emerging here?
The screening.
by
this,
burn up
will
O.K., so probably something
mean something
in the gate, the
remember the
film
sound
is
ask you to pay to be includ-
fit.
The
teenage volunteer the
it.
The
film will
drop out, the projectionist
will
in stereo
tell
happen, and
will
bad. Just prepare for
mid-screening, etc. Keep
the audience, and don't throw
projectionist
festival lured
is
probabh,
on the cheap
some scared
keep more
to
of your entry tee profits anyway.
make more money, and some
of these markets remain dubious places of real sales in America
anyway.
until late in the
European, give you food vouchers.
all
for dis-
them where the
they have to drag you along. This
calm, prepare a joke or two to
Also, special advertising in a marto
hang out with them
or better yet,
when
a raging bitch
BEWARE. Some
you have friends working
me
motel and
subsidized transportation. Also of note, Cinematexas last year
gave visiting filmmakers and guests bikes for transport.
If
tribution or major production companies, ask
find the finger food
No
when your film is showThe most generous festivals
be nervous
You'll
but you'll eventually get hungry.
why
is it
k\/e
called a market.'
ienry
based
November 2001
is
a fttmmaker
Wu
York.
THE INDEPENDENT
31
In
Janua
The author
his house.
-*
...
in front of
was a family
It
a small project for
affair,
my
wife
her brother-in-law to do together so they could
And, for
most
the
part,
it
was a
big
mess
all
my
in
and her
and
sister
stretch their talents.
At
this
we
point
As
herself.
DV
could use a small
My
wife,
Lynne Adams, wrote
Made-Up and produced
comedy
a feature-length
with her
it
sister,
called
Brooke Adams, whose
Lynne should make
interest in the technology
new power
talked about the
life.
realized that
my
part of
of video technology and
video camera to
began to weave these ideas into her

goals was to
make
supplied the
it; I
two of the three
floors of
our house,
both living and working in
When
bought
Tuscany
my
work. Over the years,
porch
at a time.
Many
The
organize the Boston

third floor.
house,
is
real
a stunning
of a class of aspiring film-
needed a
it
have fixed
offices,
makers shooting their docu-
of
lot
mentary
up one room or
it
where my
and
staff
on the
Cyberarts Festival, are
years ago a location scout asked
my
about her "movie" on our very
life.
Brooke
She
told
me
Shooting
in
the dark of night
January.
in
idea
tle
what
had always both

I
was
in
terrified
and excited me.
had
lit-
who
Tony
Tony would make his

Lynne and Brooke would debut
courts Elizabeth.
with the
film;
Luckily, that
for.
Films.)
DECEMBER 2000
Max, a restauwannabe actor
We
fiftieth birthday.
stone than
threw a
party,
and
it
was more of a mile-
had imagined. The next day the house
starts to
be
make this work

swamped with preproduction details,
transformed. Lynne has gone to great lengths to

for
me. Even though she
is
she planned this party and
But the next
art
is
My
art collection
brought
home
by her friends
is
moved up
Rapidly the house
in.
is
to our
character.
Lynne's
it
sister,
Brooke,
is
was
over.
start arriving
and
different
bedroom and new
transforming
of a middle-aged art curator into the
Tivey, a middle-aged
for a
the house intact until
moved. Walls are being painted
furniture starts to be
colors.
left
day, paintings
home
itself from
the
of a fictional
playing Elizabeth James
mother whose husband has recently
left
her
as producers.
and
is
called Sister
to the production the professional produc-
that
skill
went
a long
way
to
making
a suc-
it
He also brought with him this great New England

most of who had worked with one another before.
crew,
cess.
The other main
role
there was no family
to cast. In the script, the relation-
ship between the daughter and
action starts
when
whom
Elizabeth's daughter, Sara, for
is
member
mother
is
tumultuous one. The
Sara wants to skip college and become a cos-
Her mother thinks her obsession with beauty
metologist.
obscene. Sara thinks her father

get frumpy.
left
Aunt Kate brokers
because Elizabeth
a deal
is
herself
let
whereby Elizabeth
will
allow Sara to give her a makeover in exchange for Sara visiting

a therapist to talk about anorexia. Kate will tape the
for
makeover
her video class and asks three classmates over to help.
younger woman.
Originally, the film
was supposed to be an average Hollywood
production, at about $5 million or so with a well-known director
ing a small part. But that was before
The problem with
had been
Now
The
knew Lynne.
telling
we
make
that casting started a few days before
entire package collapsed.
Lynne about me
for a
mutual friend
couple of years, to no
in exasperation at this turn of events,
Lynne
said that
move to Boston and,

what the hell, she would go out with me. Thank you, Kevin.
We had one date and then Lynne went back to L.A. The
movie's prospects rose and fell. The e-mails flew daily. Three
months later she flew back to Boston and moved into my
Victorian house with me. A year after that we were married.
she wanted out of Hollywood, would maybe
WEEK OF JANUARY 2001
As preproduction
ful
clothes,
machine.
The costume
staying late to dye this or that
new
into this
mother's
and Russ
When we
them elsewhere.
home
tor the
that the
room
Fisher, property
Juliet
kitchen
set.
them back
exactly
even brings chairs from

I
bet-
begin to learn new phrases,
room
to he a
that cannot he disturbed. But then [uliei
"Hot Set"
My own
our washing
in
don't have the righl things,
as signs suddenly appear declaring this or that
Set"
house
of our belongings and gently integrate
all
world, promising to put
where they found them.

they find
in the
designer shows up with beauti-
Juliet Carter, art director,
manager, go through
them
number of people
progresses, the
increases each day.
met, while Lynne was in Boston. Kevin backed out to
another movie.
FIRST
on
board, Phoebe Cates starring, and her husband, Kevin Kline, play-
avail.
debut
directorial
Lynne met Mark Donadio, who became co-
fall
Mark brought
tion experience
My
as
sister,
as
producer with them. (The production company

LATE
Lynne
character's
rateur and
ago.
ing her movie
of
all
together
Kate, an aspiring videographer,
The film stalled. We got married. And then suddenly, we were working together on it. The thought of her mak-
it
as the lead,
main
the
date four years
first
she
and
the
them making
took pictures, but nothing ever came of it.
But then Lynne arrived in
summer
talked with her sister
brother-in-law about
if
my house to a movie crew.

intriguing. He came over and
sounded vaguely
in video.
Over
was interested in renting
It
Now
the story takes place in front
was young and

it
on
down to about
it
$250,000 she used this as
was
make her movie. She

Though one of her
script.
a conceit for the plot.
Victorian,
Villa-style
while
she
getting
it.
were cheap. Though
estate prices
all
how
video rather than film
For three weeks they shot on
set.
we
art,
the production less expensive by shooting
husband, Tony Shalhoub, directed. All three acted

in
movie
this
behind
"1
tells
[<
il
me
sign doesn't apply to me.
contribution
is
as
cameraperson on m\
Novembei ZOO]
little
D\ cam
THE INDEPENDENT
33
corder, for the constant auditions of aspiring Saras. This role
proving most
Lynne
difficult to cast.
traveling
is
is
the time to
all
downtown Boston casting agency and meeting young

actresses. Or, they come over to the house and I tape them.
Then we send the tapes off to California, in turn watching the
the
you know, where you can see the creatures in the same room but
know
that they exist in
some other continuum, and
this
is
the
freaky part, they can see you.
MONDAY JANUARY
2001
22,
audition tapes Brooke and Tony were sending us from L.A.
We go our separate ways,
Shooting goes on.
SUNDAY JANUARY
7,
2001
seems more boring.

Finally
start
each universe existing
separate but equal, except theirs has movie stars in
Brooke and Tony arrive
We're supposed to
in Boston.
And
it.
theirs
Oh god, does movie making seem boring.
had
never imagined the
we still have no Sara. Tony has an

we also have received a tape from
Eva Amurri. Brooke has known Eva since she was
shooting in a week, but
They
don't
much
time
waiting.
Hfcfc
excellent actress in mind, but
spend
15-year-old
actually
shooting.
New York with
Most of the day
her mother, Susan Sarandon. She thought Eva would be perfect,
involves setting up
born, and she ran into her
some months before
in
but the teen has never had a major role in a movie before.
When
and blocking the
became such a hair-raiser, Lynne and Brooke sent her

the script and Eva and her mother made a tape of her in several
scenes. We were enthralled. She was fresh, funny, and completely spontaneous. She was Sara. And she was available.
the search
shots,
lighting,
re-
and
of
hearsals
course, eating, con-
stant
In
the kitchen/craft service area/
staff
screening room.
SUNDAY, JANUARY 14, 2001
eating.
perk.
this
ling off
So Eva and Susan came up today. I cooked a lobster dinner for

them, Brooke and Tony, and some of the crew. The Boston crew
had worked on many films, but just seeing Susan Sarandon sit-
room reading
book wove a Hollywood magic

around the film for me. It also makes me realize how Lynne's luck
has turned out. The production is small and independent, yes,
and under a quarter million. But it is closer to that Hollywood
ting in the living
production she planned from the

video art projects
I
go to bed
to stay
deal with in
late, as Lisa
15,
my
going
down
five thirty this

I
was
morning
just as excited
back to
zombie
sleep,
in a
are
heard Lynne
and couldn't go
making me
for the entire day.
When I get up,
find myself
crowd scene. Forty people

wandering around my
house, hanging out at craft

services in the kitchen, string-
ing cable, or carrying lights.
The
set-up
the
fact
Getting ready for action
is
that
complicated by
many
of the
characters in the movie are
on Made-Up.
holding cameras that supposedly are videotaping

are
watching.
The
director
of photography,
what you
Gary Henoch,
orchestrated this complex multiple camera shoot so that while
one
in
is
always aware of the conceit,
it
becomes
PAL with a Sony DSR-500 camera. The
natural.
Gary shot
actors held
PAL Sony
PD-150s.
I
34
start to
this
One
room, and hair and makeup.
and everything has

kitchen "dressed."
to
be moved
The next day
day they shoot in the kitchen
rooms and the
into the other
everything moves again.
FRIDAY,
JANUARY
We've
settled into a routine. Lynne's alarm goes off at 5:30
26,
2001
let
the
first
people
sense of existing in a parallel universe
THE INDEPENDENT November
2001
in.
when
and
my earplugs in and try

leave my bedroom in my
put
bathrobe and greet people along the way to the bathroom.
When
wander down through the kitchen to get my yogurt

and go up to my offices on the third floor to have coffee and read
dressed,
the paper with
my
dog.
"Wall busters" are special metal plates that use a turn screw
and 2x4s
to create a pole for
movie
name comes from
lighting in
an ordinary room.
you expand outenough to support

the heavy lights used in film production, you create big cracks
and holes. They are becoming the objective metaphor for the
constant damage that is being done to the house.
Their quaint
the fact that
ward into 150-year-old horsehair
if
plaster walls
Also, since the production, every door in the house seems to
remain open
at all times. In
Boston
doors outside open. But as the grips
we
in January
move
cable and equipment, the shutting of doors
in
is
don't leave
and out dragging

left
up
to
me.
me how I feel with all

moment and say that I feel
Karine Albano, the lighting designer, asks

these people in
like
my
the queen ant
small fast
moving
Moments
develop
as a set
room (now the production office), and the third floor (now my
sanctum sanctorum and office) The other rooms act as craft services, storage for all the lights and scrims and gels, the sound
she gets up to
to let people in.
fal-
washing machine.
in our
2001
day of shooting. At
house
in the
I'm
diet.
except our bedroom (now a storage and bedroom), the guest-
to sleep until 7:30 or so

First
room
you, they are using every
my
world of new media.
Lesniak, the wardrobe person, needs
and dye another blouse
MONDAY, JANUARY
than the self-financed
start
Mind
My
of two loves
house.
think for a
ants constantly rearranging everything.
like
Crewmembers
a large white sluggish creature surrounded by
stop
this
me
repeat
as
themselves every day now.
go downstairs to look sympatheti-
my
into
cally
"How's
and
eyes
going?"
it
which they
ask,
not get paid. But photos and resumes arrive
will
Today things started
felt like a ter-
because of the
late
minal patient. One guy comments on how well I'm holding
get the paper from the front porch.
up under the
mailbox and got
strain.
reply that
one can handle anything

as
one knows
finite.
it's
evening before.
as long
He
agrees
but feels there must be a breaking
After
point:
number
days, you couldn't take
He
more.
about
this
and
pauses
it
"Do you have
pendent
watch from
there.
Today they are doing
monon the
a scene
stairs
Jim
Krall,
Issa,
last
thus,
between Brooke and Eva. Lynne's character, Kate,

and three young men from Kate's video class, played by Lance
is
to
become a professional actress.

The address is in Lowell, an
woman and
middle of the night.
is
and Kalen Conover,
so that Gary,
4,
and
d.p. asks
ally,
if
will miss
them.
reply, "I will
miss you
P0STPR0DUCTI0N
is
shot
After Boston there
the DP,
the
of
was some shooting

there was the long
process o{ editing a
little
movie
footage from the their
cameras
As
used.
is
monitors.
is
trying out
made from band-aids

the final shot, Eva asks
false face-lifts until
if
on her mother. Before

an idea. She pulls up on the
she can try
Brooke's face
is
stretched like
taffy.
looks at Brooke wide-eyed and says, "Cooool!" She
the shot that
used in the final
on
taking a
toll
Money
limited
is
triple role as
her.
The
a natural.
is
Lynne Adams and director Tony Shalhoub.
all
doing a great
the drumbeat of time.
costs us about $10,000.
We
must
on schedule.
tributor.
She
and she
is
1,
2001
We
is
are
liver
to
days!!! Every
day
go to the mailbox and de-
the production office a thick sheaf of 9x11
envelopes addressed to "Extras, Sister Films."
each contain
lj
days,
p
i
as
Executive Producer.
manila
learn that they
headshot and resume. There are two location
one at a restaurant and one at the museum where I work,

where extras are needed. The production placed an ad on
www.newenglandfilm.com and we are deluged. It seems sort o{
sad to me, all these people striving to be in the rear of a scene for
finished
is
on
is
is,
work-
getting a dis-
The
am on
the credits with
other credit
feel that
that of door closer.
excited about the movie's prospects.
.all
are sure that
will
it
be a
hit.
But the great thing
Of course, we
for
me, besides
watching Lynne bloom into an expert film producer,
is
seeing
one of the important characters
in the
how
our house
film.
Twenty-four years of painting, scraping, and hiring contrac-
is
really
pay off once more as
'Romantic' into
Only three more
the edit
apply to send Made- Lip to various film festivals
will
talking to producer's reps.
Bob Wiener
now
is
that
and Lynne
tors will
FEBRUARY
cities.
"locked,"
ing
deserve
producer, actor, and writer are
only cloud
and each day
she
edit.
can see that Brooke, Tony, and Lynne are
though Lynne's
finish
is
is
Then
movie
the
some
she has
false face -lifts
two
in
write this at
the end of summer,
In this scene, Eva's
Sara
and then
L.A.
in
actor's
Very
cameras.
Huddled outside watching the
individu-
all
not collectively."
DSR-500 cam-
his
view
at the
2001
era can get the point of
job,
am amazed
videotaping the
are
that every scene
is
her ambition must

I
most remarkable drug.
makeover. This means
This
hand-
am introduced to the concept of the "wrap party." And

am introduced to the concept of the wrap present. Out of
nowhere, the line producer gives me a gift certificate to a restaurant. am embarrassed that have nothing for anyone. Later the
At
impossible to actually see
shooting as the lights and
and
back
goal
in the
Fame
feature.
SUNDAY, FEBRUARY
Eva Amurri gives a
makeover to Brooke Adams.
camera angles take up so much room, but Tom's cart has

itor
latina teenager
room and
in
it is
much
young
in a living
palpable desire to get a nonspeaking bit part on a small inde-
on the occasional shoot,

mostly behind Tom Williams'
sound cart. As large as the house
is,
"My
for the opportunity."
have driven down
any firearms in house?"

I sit
ends with,
in. It
to
in the
lined paper spelling out the school plays the teen
hour and a half away. This young
thinks
and then he asks me,
in a casual way,
prints of a
palm
Thank you
came downstairs
an unstamped, un-addressed note card,
It's
in front of a potted
on
saw an envelope
vamping
was
of
it.
house as
in the
and inside are some Kodak

written note
any-
was alone
daily.
run the
late night
Our house
this
this old
Victorian brings the
romantic comedy.
back to normal, although certain
is
ol
Muni
Feldman's room color changes and decorations have staved.
Brooke keeps making jokes about \Lidc-l

shooting
your
can
tell
home
and scheduling
our house again. But Lynne's future screenplay ideas
in
do not include
for
'/'
a Victorian
you
this:
there
home
is
in
Boston, at
no reason
least
hope
not,
to invite a film crew into
except love.
George
Fifield
is
the director
of the Beaton
November AVI
vberArts RativaJ.
THE INDEPENDENT
35

righted.
The
best
way
to avoid a possible
copyright infringement claim
More than Just a Copy
work
to always
is
from the public domain
directly
work.
Public domain
one step removed
rules,
It's
pen:
Robert
by
Seigel
L.
also possible the reverse could hap-
A derivative work might
public
domain but the
fall
original
into the
work
is
protected under copyright law. In such an

instance,
you could not use the derivative
of this series was a discussion

whether a work is in
the public domain, thereby allowing
Part
of
how
to determine
use such materials in a project
artists to
without having to obtain any consent
from or provide compensation to the

materials' owners.
written by William Shakes-
Othello,
peare sometime in the 16th century,
work that
certainly
is
in
the
is
public
domain. But what of O, the recent film
Tim
directed by
contemporary
Blake Nelson that
high school setting?

parts of
If
you wanted to use
O, or make a work based on
the.
concluding scene of the
controversial
film,
is
retelling of the play in a
would you need copyright permiswork is in the pub-
sion, since the original
domain?
lic
Because
an example of a deriva-
is
work, which
tive
common way
is
domain
using items in the public

ate
new
artistic expressions,
Changes
yes.
of
to cre-
the answer
is
in a work's characters, plot
and dialogue transform an

work into a derivative one. In the
area of nonfiction, a work is deemed
line,
scenes,
original
derivative
if
an
artist
has taken a sub-
stantial part of a pre-existing
has revised
ing,
it
adding
work and
by such measures as updat-
to,
or changing the original
available to the public,

a
photocopies
work that has fallen into the public domain, you may not use a derivative
work based on one in the public domain
if the derivative work is subject to copysion a
One
check on that score
is
thing to be sure to
whether the work
was published, which under
means
on
the Internet do count.

Translations into other languages,
Although you can use without permis-
in question
do not constitute
although
that are distributed or pages posted
underlying work.
right protection.
publication
forms,
or
abridgements
domain work
(e.g.,
of
new
public
protected
under
copyright
law.
However, only the newly created material in a
derivative
work based on public
domain material can be
subject to copy-
right protection. For example, only the
that copies of
newly created dialogue, characters and
the work are available to the general pub-
scenes in a play based on a public domain
U.S. copyright law
lic.
The
original
limited sale, lease, or gift of an
work,
mances and
the text
36
as
well
as
play
perfor-
which copies of
of the work have not been made
lectures in
THE INDEPENDENT
November 2001
the protected work.
You should
an audiocassette) can
be considered derivative works that can
be
work without the consent of the owner of

the protected underlying work. For example, the copyright of a public domain film
based on a copyrighted source work
would require the consent of the owner o{
work can be protected under copyright

law. A compilation, even if it has been
created from a public domain work, is
also derivative and therefore can be copy-
investigate
regardless of whether
program or
first
work
a film, television
a creation in
any other medi-
umsupposedly
was
if
it's
in
the public
domain
published outside the United
States since such works
may be
subject to
copyright restoration as discussed in Part

(e.g., a work created outwhich a minimum of one
of the copyright owners is a U.S. citizen or
1
of this article
side the U.S. in
resident or
if
a work's copyright
not expired in
its
term has
country of origin) You

.
should also make sure to determine
if
work
based on a pre-existing work or
is
contains elements
that
themselves
are
protected under copyright law
Wonderful
whether you've violated
may be
good or service, you must determine

whether you're using the public domain
or the trademark or service
issue arises
when
a separate legal theory to
work. For example,
there
prevent an
artist
if
you want
to use
footage from a
domain
public
film,
you may
have
to obtain
consents
from
performers
the
avoid
to
of pub-
"right
material
right
by any of the
performers.
In addition,
if a public domain
work featuring Arnold Schwarzenegger is
poses. For example,
used in a television commercial, Mr.
NON LINEAR /LINEAR
Schwarzenegger has a claim
OFF LINE /ON LINE

BETA SP, DV EDITING
CD-ROM OUTPUT
for violation
of his right of publicity since the

cial
is
purposes.
On
the other hand,
work that features

mark for a good or
if
service
play, film, or television
is
included in a
program, the
since your
paying any
tional in nature
re-
service's
work is editorial or informaand protected by the First
Amendment. (However,
claims,
lective bargain-
from companies with trademarked goods and services.)

Music is the most problematic area to
determine whether a work is in the public
domain, as there are usually two separate
you
still
to avoid possible
should attempt to secure
(SAG),
copyrights for music: the copyright of a
musical composition and the copyright of
(DGA).
domain
a sound recording that includes the musi-
colorization,
or
Copyright protection occurs for the

musical composition
creates
and
fixes the
when
in
public
sheet music) or recording
for copyright protection unless the
new
the songwriter
musical composition
such editing
as "pan and scan" can cause

domain works to become eligible
some form, whether
in writing
CD). You can include public domain

musical compositions in a film,
the original public domain works.
television
whether a
domain work contains any copyvisual
art
such
as
is
not so
but of
much an issue of public domain

The need for consent is
"fair use."
low under arguments of

dental use
if
fair
use or inci-
the copyrighted visual images
risks
inherent
pertains to music,
is
media that include
al
public for sale, lease, loan, or even
if
copies of the recordings of the composition
most prudent course of
any
the composition are offered to the gener-
Although,
in these cases, the
it
or other recording
identified because they are obscured
some manner. To avoid the
to
copies of sheet music, tapes, CDs,
appear for only a few seconds or cannot be

in
money
entity.
Publication, as
when
or
play,
program without having to seek
the permission of or offer
person or
paintings,
posters, photographs, or sculptures. This
(e.g.,
tape or
(e.g.,
elements can be and are removed from

also important to note
EMAIL:
[email protected]
cal composition.
works that have
replacement sound-
(21 2)-21 9-9240
releases
or the Directors
Public
trademark would be minimal
quired residuals
Guild
righted
good or
based on col-
(WGA),
EXCELLENT RATES
EXPERIENCED EDITORS
like-
excuse you from
Guild
It's
domain
a public
a celebrity or a trade-
celebrity's right of publicity or the
Screen Actors
public
commer-
being used for primarily commercial
main status of a
work does not
Guild
narration,
any adver-
lihood of there being a violation of that
with the Writers
as
for
other primarily commercial pur-
the public do-
ing agreements
such new elements
mark of any
film footage with a copy-
(e.g.,
term that has expired)
tising or
licity" violation
new
new work.
any well-known person's right of publicity
from using material from a public domain
tracks,
in the
In considering
It's
Life)
Another
image
the
(e.g.,
underlying story and music for
action would be to remove or obscure the
are
distributed
if
at
no
charge.
composition was recorded
and even distributed prior
to 1978,
such
distribution did not constitute a publica-
November AVI
THE INDEPENDENT
37
In
AVID
E)
tion of the composition. After January

1,
to bring
an action
com-
common
law copyright infringement in
tion did constitute publication of a
The
same
principles
concerning
whether a derivative work can be copyrighted
(e.g.,
changes in
lyrics
or orches-
trations) apply to musical compositions,
new
including the fact that only the
work from a
domain composition can be copy-
amendment
to the U.S. copyright law permitted
tection.
Covering sound recordings
tributed
February
after
amended copyright law
1972,
15,
in February 2067, thereby placing
all
pre-
1972 sound recordings into the public

in the public
is
domain,
compo-
domain.
recordings,
All
you'll like-
copyright notices on the sheet
see
the
would end
state protection for recordings
ly
dis-
indicated that the
public
sition
sound
recordings to have federal copyright pro-
materials in a derivative
When investigating whether
Media Composer 10.0

Full-time Support
for record piracy or
the state courts. However, an
position.
righted.
24 Hour Edit Suites

3D Meridian AVIDS
such recordings without consent would be
1978, sound recordings of a composi-
after
published
therefore,
February 15, 1972 are protected by
music of public domain compositions.
copyright law for 95 years from the publi-
Remember that a copyright

be made by a publisher not
cation date
claim could
com-
to the
of such sound recordings.
Unpublished recordings produced during
The best way
to avoid a
RADICAL AVID
1133
possible copyright infringement
BROADWAY
(212)633-7497
is
always work directly from
to
the public domain work.
Reach the
heart of the film
community...
position itself but to the arrangement (or
adaptation) of the public
domain composition
providing copyright protection to those
are entitled
to copyright protection since the
how
changes
the composition should be played
significant;
other cases, such
in
experienced working
filmmakers who
buy
stuff.
notice entered the public
avoid this problem by using the original
period after publication.)
basis
you can hire
musician to create a
in
which the
"work
artist
for hire"
retains
the
1,
1978 through
1,
1989 that lacked a copyright
work was
domain unless
registered with the U.S.
Copyright Office within a certain time
You have
a vast treasure trove of
mate-
work without
seeking permission or payment for such
use. However, legal landmines between
you and such sought-after materials
abound and it's best to have a plan to
rials to
use to enrich your
progress with a
arrangement's copyright)
minimum
of
liability.
There was no federal copyright protecsound recordings of musical comuntil
February
15,
1972.
owner of sound recordings who

claimed that someone else was using
the
November 2001
the
domain version of the composition
Therefore, the only means of redress for
THE INDEPENDENT
sound recordings pub-
between January
to make a judgment call concerning

which arrangements can be considered
worthy of copyright protection. You can
positions
38
recordings. (Those
March
(Or,
1978 by
or after that date
afforded copyright protection. You'll have
new arrangement on
1,
both published and unpublished sound
lished
tion for
TOTALLY INDfPfHDfNT
on
recordings created
for
changes are minor and should not be
of the composition whenever possible.
directly to
this publica-
on January
public
and/or use a public domain arrangement
speak
covered under
still
Congress removed
tion distinction
public
You'll
time period are
However, some arrangements of a
are
this
state law.
sition.
in
Advertise with
domain compo-
Robert L. Seigel
a
or
rseigeK&DSBLLEcom)
is
NYC entertainment attorney and a partner in
the Daniel, Seigel
& Bimbler,
LLP
law firm that
specializes in the representation of clients in the
entertainment and media areas
G^s
jjj-lzj
^ lj\lJju: 27)
"intuitive" are relative. If you find yourself
struggling
Industrial Light
and You
these prod-
ucts are probably not for you. But
own
Create 3-D animation on your
operate non-linear video
to
editing software effectively,
By Greg Gi lpatrick
you
if
comfortable creating media with
feel
computers and are interested in exploring
new methods, you may
what you are
find
looking for here.
Poser is possibly the most fun you'll

have with your computer outside of
(left)
Poser's "sketch designer" trans-
who show up at my
when I work with Poser are imme-
video gaming. People
forms your work into an image that

looks as if it were sketched by an
studio
drawn to this little animation

program because it is designed to manipulate that which we already know best
diately
artist.
the
human
body.
Poser started
(below)
Amorphium
Pro's 3-D model-
ing capabilities allow you to pinch,
human body
poke, or pound an object until
from any perspective. Then, 3-D anima-
it
fits
the shape you want.
a
a
Between Shrek's top grossing box

Spirits
Within 's startling realism this sum-
mer, the financial promise of
mation
used exclusively to animate the movement of figure that is provided (usually

human, but the software package also
includes animals, such as a dolphin and
a sec-
is
that
3-D
expensive, time-consuming, and
And
it is,
at least for those pro-
picture. Fortunately, there are
tools available for
new
independents that level
from third-party providers). The user
able
ani-
ducing a high-quality, feature-length ani-
mated
selects the part of the
Poser (Curious Labs $219
Amorphium Pro
Mac/Win)
Mac/Win) and
Image $379
(Electric
are two relatively inexpensive
much
programs that don't take
time to
body to manipu-
can be general
the top
pinky and then moves
the
late
this
as the entire
as
torso or as specific as
joint of a
point
at
a
if
point in
desired
desired
to
it
master and are easy to use. Both programs
instance,
have interfaces that are
her arm, you would set the arm to
low-budget, non-studio work.
any of their professional-level cousins
article
is
an introduction
to
3-D
less
Lightwave or Maya, and
complex than
if
like
you already
the
you want your
figure to
and then you'd move
left,
ond forward
in time
and
start at
set the
arm to
arm
have a computer powerful enough to edit
the right. Poser would then
few sugges-
video, you can use these programs effec-
between the two points within the
to the beginner, along with a
One
on how to use these tools in independent productions. Wherever possible
all
use the least technical language, however
your entrance into producing professional
little
3-D
Once you go through
there are
iar with.
some terms you may be unfamilversion of this article on the
The
AIVF Web
site
(www.aivf.org/indepen-
tively.
of these programs
your 3-D needs, or
visual effects
it
may
may
serve
second you
and animation.
If
you're
daunting
the
through the 3-D world,
good understanding
(PY
want
to
consider next 3-D Toolkit
and definitions
$199, Mac), a online and video training
defines
system which
with.
THE APPLICATIONS
Disproving the conventional
is
As with any
wisdom,
discussed
digital
tool, the use of the
Garage,
later.
media production
words "beginner" and
the
halt-
that the interface
understand
the
first
manual, however, you
dent/technology) contains more examples

of technical language.
is
to
looking for a step-ladder effect to progress

you'll
move
allotted.
One drawback
serve as just
wave
half a sec-
production tools designed to be accessible
tions
For
time.
3-D playground, allowing them to use

professional-quality 3-D animation in
the
This
dog; there are also several figures avail-
general consensus
difficult.
ani-
is
movie industry player and

But most independent filmmak-
is
3-D
not part of
process called "modeling." Instead, Poser
ond thought.
The
it is
a system to design people or objects
3-D anima-
medium
body.
Poser differs from most other
tion has certainly crept into the subcon-
ers probably don't give the
figure across
could easily animate the
that
tool
mation programs because
scious of every
observer.
human
animate a
span of time, and Poser developed into
human
performance and Final Fantasy: The
any pose imaginable
in
tion artists asked for a program with the

ability to
office
program
model of the
a simple
life as
for visual artists to see a
oi
how
at
is
first.
chapters
ol
have
will
to manipulate
characters and the virtual camera thai
of
how you
One
Poser
is
see what you are working
of the most intriguing features

its
"Sketch Designer" output.
This gives you ihe
November 2001
ability
to finish
your
THE INDEPENDENT
39
~=
PRODUCTION & POST
work
as
E)
an image that looks
sketched by an
Amorphium
than Poser,
is
as if
it
were
artist.
Pro, while
more complex
an imme-
also a tool with
3-D beginner. It's

3-D modeling
diate appeal to the
similar to a full-fledged
and animation application

high-end
Image's
($1,999), but
3-D
attempts to simplify the
it
process so that
like Electric
Universe
can be approached by
it
someone new to 3-D with relative ease.

The main difference from a standard 3-D
package is that instead of creating 3-D
from scratch with unintuitive
objects
you work with pre-defined objects

that you then mold, shape, and paint to
tools,
meet your needs.

To modify your
shape you
object's
either pound, pinch, poke, pull, or

until
it
Amorphium
shape
the
fits
it
Pro's
approach
which
tools are similar in approach,
1:1, avr
77
final cut
pro
24 hour access
now
noho location
available
pro tools mix plus

full
sound design
voiceover and
sound effects
ADR
library
mean, however, that it's not a good program to experiment with 3-D modeling to
see if you feel comfortable with it. Like
Poser,
Amorphium Pro has a unique interits own idiomatic structure that
face with
few days,
will take a
if
Unfortunately,
ter.
is
not
not weeks, to mas-
Amorphium
as helpful as
it
leaving a lot of the learning
I;
SI
PRODUCTIONS
its
sets
apart from other
manual
CITYSOUND
^^
is
3-D applications.
Another difference is that Amporphium Pro doesn't have anywhere near
the amount of features of a more professional level 3-D application. That doesn't
it
analogous
is
molding an object out of clay and
to
(212)614-7304
smooth
you want.
and
The good news
error.
lends
itself to a
the process
more
is
Pro's
should be,
left
this
to trial
approach
sense of play that makes

interesting than in other
applications.
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One
thing
of using
found that helps the process
Amorphium Pro
is
the addition of
A tablet
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such
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THE INDEPENDENT
the
Mac/Win)
www.mbnyc.com
1
as
November 2001
Wacom
creates
Graphire2
($100,
an accurate sense of
molding your models by hand that using
mouse does not.

Poser and Amorphium Pro hold a lot of
potential for the beginning 3-D artist to
create
good work, but
if
you are
interest-
ed more in working at a professional
level,
creating realistic visual effects or complex
animation, there are a multitude ot other
products available. All of these products

are
highly technical and immediately
daunting to the uninitiated. Fortunately,
there
help for those that want to learn
is
3-D production
the trade of professional
from some of the best 3-D
artists in
Top 10
the
world.
DV
Garage
company focused on
is
advanced 3-D design
training people in
skills.
Headed by Alex
Garage
Lindsay, a former
Light
artist at Industrial
&
Magic,
DV
releasing a series of products
is
intended to introduce people to 3-D

design.
DV
Already,
Web
Garage's
(www.dvgarage.com)
site
video
presents
on 3-D design and free tips for

3-D Toolkit is
tutorials
creating realistic images.
DV
Garage's
first
of these. This collec-
tion of video tutorials, bundled with a
working copy of the professional Electric
Image Animation System, holds great
June 7 -
promise for training the next generation
3-D
of
was
[Although
artists.
still
DV
Garage
working on finishing the 3-D
Call for Entries

early deadline february 22
Toolkit at press time, the on-line version
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of this article includes
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16,
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late deadline
experience
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with the product].
phone (407) 629-1088
1300 South Orlando Avenue
ext.
222
USA
fax (407) 629-6870
www.enzian.org
[email protected]
Maitland, 1X32751
THE IDEAS
Those new
to
3-D production probably
have a hard time thinking about the ways

they can
3-D
utilize
in their small pro-
ductions. Surprisingly,
some of the
best
ways independents can use 3-D may

never end up on screen.
Animatics
is
a process used extensively
in the big-budget
movie realm
to visualize
sequences of a film during preproduction
and
to plan
test before shooting.
An
ani-
matic can be anything from drawn storyboards transferred to video to low-quality
3-D animation. While the

for animatics
is
justification
usually to save
money on
shooting expensive sequences, independents should also consider animatics for
own
their
With
purposes.
Poser,
you can
set
up and animate
your characters and then place a virtual
camera wherever you wish. While
this
reality of shoot-
could be provide
a fertile testing
it
ground
for
for
Public Broadcasting, the National Asian

(NAATA) provides production and
completion funds for Asian American film
and video projects that have potential for
national public television broadcast.
RECENT MEDIA FUND HIGHLIGHTS

ANCESTORS IN THE AMERICAS by
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DREAM CATCHER by Ed Radtke
FIRST PERSON PLURAL
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FLIP SIDE by Rod Pulido

RABBIT IN THE MOON
by Emiko Omori
REGRET TO INFORM
by Barbara
Sonneborn and Janet Cole
ROOTS IN THE SAND

THE SPLIT HORN
by Taggart Siegel and
TURBANS
by Jaysari Hart
Jirn
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by Erika Surat Andersen
'-
is
not exactly close to the

ing,
With support from the Corporation
your ideas and an effective
tool for sharing your plans with cast
and
crew.
II
you are content with standard
gle-frame storyboards, Poser
is
also
sin-
an
naatanet.org or
excellent choice to visualize interactions
between characters. The "sketch render"
NA
call
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ATA
November AVI
THE INDEPENDENT
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Gî
5i)
option even makes

boards
it
Amorphium Pro
tive
tools
also provides effec-
The
pre-visualization.
for
freedom in
designing any object you can imagine. If
your production calls for specially-built
interface
education
so that your story-
appear hand-drawn.
will
allows
great
for
props and set dressing, you can design
Vancouver
film
them
Amorphium
in
Actually putting 3-D content into your
production
school
film
on
possibility
acting
animation
a budget
possible for
One
so.
documentarians who
for
is
it
and with mod-
knowledge to do
erate technical
want
writing
complex and tedious
is still
but these tools make
task,
those working
new media
to share your ideas
with the crew.
an event without the
to re-create
With Poser,
and some patience,
cost of shooting live action.
Amorphium
Pro,
someone could produce
much
bly
a scene for possi-
money. Effective sound
less
design could be
used to counter any
"unrealistic" feelings the audience
would
have seeing an animated scene.

1.800.661.4101
604.685.5808
Amorphium
tion
www.vfs.com
Pro
is
also well- suited for
designing simple object and text animaperfect for
someone creating
you want
ish logo or text piece. If
a styla pro-
looking introduction for your
fessional
production company or need to create

TV-like
titles,
Amorphium Pro could do
the job well.

Finally,
both
Amorphium Pro and
Poser
(with the addition of the Poser Pro Pack,
$149) can export Flash animation to the

Internet. If you plan on promoting your
work on the Web, some 3-D content can
give your site the polish you need to gain
more attention. Used in conjunction with
Macromedia's Flash,
filmmaker without
years of digital design experience could
create a professional-looking promotional
^j&gtfr
^^
Web
...for
a very
tent,
small price!
site.
Creating compelling and creative con-
however,
upon the
artist
ultimately dependent
is
and not the
tools. Just as
independent video and filmmakers have
Easy-to-use Budgeting software for Feature Films

(also available for Commercials)
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created startlingly good work with lowresolution super 8 and Pixelvision cameras, talented artists
Amorphium
THE INDEPENDENT
November 2001
Pro and Poser.
yourself intrigued by
price
and technical
nificantly lower
Greg
tools
If
3-D content
barriers are
like
you find
now
the
sig-
than in the past.
Gilpatrick
is
42
can turn out amazing
work using "low-end" 3-D
New
[[email protected]]
York-based video /filmmaker
as in the
particularly intense, following that stud-
vision";
and
the scrapes, scratches, and blotches
making
in "eight questions," in
ies
with
Although
tively
often
it's
see
to
difficult
it's
shown
in rela-
few art-house movie venues across
who
the country, those
one of his 340
experience even
films rarely forget the hyp-
notic effect or dramatic visual impact.

Essential
many
Brakhage includes
differ-
ent elements of filmmaking, including
which he
particular
and his own history as an artist.

At times reading Essential Brakhage
films
stumbling into a collection of
feels like
obscure poetry. But the book serves
its
purpose well. Part personal musing, part

philosophical
text,
part
rant,
it
chal-
who aspire
understand new ways
lenges and inspires those
to
create or try to
of
seeing.
Maria Lehner
films in "notes of anticipation"; salient
Selected writings
n lilntmaKins *
J,
making of
outlines about the
brakhage
practical discussions of film-
discusses his experience with financing
zeal.
Brakhage's work since
essential
opening essay "metaphors on
ways. His work has garnered a small, but
communication, such
essays about visual
The
Indie Producer's Handbook:

Creative Producing from
to Z
Myrl Schreibman (Lone Eagle/ifilm)
CREATIVE PROOUC
ATO 7
FROM
In this handy guide, Myrl Schreibman
on everything from how
offers advice
break
down
the screenplay to
how
to
"I
to get
insurance (and what, exactly, to insure)

to
^ Li
how
to make 25 cents look like 3 dolon screen.

Drawing on his own experience in
lars
the business, Schreibman, a film profes-
Brakhage
Stan Brakhage (McPherson
Essential
UCLA
sor at the
& Co.)
School of Theater,
and Television, tells it to you

straight. Going out in search of funding?
You'd better have a solid plan and be
Film
More than almost any other filmmaker

born out of the experimental move-
ment
including Andy Warhol and John

Stan Brakhage has endured
Cassavetes
and flourished while remaining
faithful to
the avant-garde tradition.

In addition to his
Brakhage
writings
has
body of visual work,

important
contributed
and creative essays
to the small
but growing library focused on experi-
mental
and
filmmaking
ready to answer the important questions

potential
investors
are
to
likely
ask.
And, be sure your negotiating skills are

up to par, whether you're negotiating
down the producer road should

know about and which trade shows are
ing
must-attends.
Earrin Jacobs
your distribution deal or hiring the craft

services crew.
Though
the
title
book
guide, the
The
promises an A-to-Z
Five Questions
Potential Investors Will

is
actually organized by
Ask
filmmakers.
the process a producer goes through,
"As a business deal, you're selling
Essential Brakhage, a collection of writings
beginning with the kernel of an idea and
investors
by the filmmaker originally featured in
how
Myrl Schreibman.
two out-of-print books, Metaphors on

Vision and Brakhage Scrapbook, highlights
going
just
how
critical to
the art form Brakhage
has been, in creating
it
as well as in spark-
ing the conversation about
As
to start thinking like a
ever, a useful
Not
medium
as
painting in motion
film.
canvas,
He
treats
the
spending hours
meticulously scratching,
painting
on,
burning, and otherwise manipulating the

celluloid in deliberately unconventional
is,
index for quick and easy
selling a
answer
five
how
who
in
addition
to
dream," says author
"When
you're
dream, you have to be able

their questions."
that will likely

best
to
Here
come up
answer them,
are
(tor
you'll
have to read the book)
teaching has had hands-on experience,

offers
like
on
how-
to taking
reference.)
mental filmmaker, has created a body of
more
way through
the film festival circuit. (There
most accomplished and famous experi-
than any narrative
the
Schreibman,
it.
a filmmaker, Brakhage, arguably the
visual art
all
producer
up
number of
solid examples.
what a production board

is and why you need it? He breaks it
down for you. Confused about whom to
hire
quite sure
first,
the casting director or the pro-
duction assistant,
he
lets
you
know.
Also included are suggestions for the

basic resources
anyone considering go-
How much money do you want

me to invest?
What do get tor my investment?
When do get my money back?
How do know you're not going
I
to ask for
How
^\o
will get in
more money?
1
know
that the project
the marketplace?
Novembei 2001
THE INDEPENDENT
43
Call for Entries
^-'" e%.
&
'
Festival
Entry Deadline
July
2002
Columbus International Film & Video Festival

"The Chris Awards"
the longest running competition of its kind in the U.S
Film Council of Greater Columbus;
5701 N. High St, Suite 200; Worthington, OH 43085;
Ph. & Fax 614-841-1666
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Director
For Info: (212) 505-7742
Call for Entries

Features, Shorts
1
producer of the
committed
& Documentaries
1th Philadelphia Festival of World Cinema

April 4-15, 2002
Deadline: February 1 2002
to
film as art
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FAX: 215-733-0637
Philadelphia,
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1300 South Orlando Avenue
2002
Philadelphia Film Society

Ray Murray,
234 Market
Eugene Hernandez, Editor-in-Chief,
www.phillyfests.com
Maitland,FL 32751
ENÎAN
407-629-1088
USA
ext.
222
407-629-6870
fax
[email protected]
THEATER
www.enzian.org
a_a4 AJ
FirstGlance
The Annual
IndieKINO
p|wl
International^.
WMfebJ
FirstGlance 5: Philadelphia
(March 25-29, 2002)
GALL FOR ENTRIES

Deadline:
November
15,
2001
1680-3
SeoChoB/DFL.6Rm.601
SeoCho-Dong SeoCho-Gu Seoul.Korea

Tel:822)593-6391 Fax:822)593-6291
www. newimaging.com
E-mail
[email protected]
Indie
M c KINO IttC
!
www.INDIEKINO.com
ON -LIME
www.IIFF.org
Scott Castle
by
BMIFF,
Contact:

we recommend that you contact the festival

to cover date
for march issue). include
(jan. 1
Lagoon
any
5200 Blue
262-
fax:
Awards: Non-competitive. Formats:
style or genre.
Preview on
3005; www.biff.bumbmedia.com
VHS (NTSC).
SHOWCASE,
343-5995;
(910)
Nov.
nual Asian
ican film/arts fest,
Amer-
presented
My
New
England Home
by the
Foundation
for
Last
Independent Cinannual Aspen Gay
&
Festival
is
presented as part of the
Lesbian Ski Week. This
int'l
cele-
draws gays & lesbians from across the
U.S.,
Europe
&
tn
anniverebrated the 26
Siskel Film Center.
sary of
Seeking features,
&
Australia
the oldest such event
is
in
the
shorts, docs
men & women
world. Nearly 5,000
&
of Jan. for a
week devoted
arrive here the last
to skiing, partying
has been presented as part
fare. Series
&
ericans.
Send
tape,
bio/production
16mm, 35mm. Preview
Contact: AGLFF, Neill Hurst,
300 Puppy Smith
St.
CO 81611; (970) 544-8228;
270, Aspen,
notes,
still
s.a.s.e.
for
six
&
photo,
fax:
is
tape return.
Founded:
1996.
feature,
doc,
Cats:
(early), Jan.
showcase
entries
April
Fest
(final).
9-13, CO. Deadlines: Nov. 17
is
a premiere
originality,
&
Fest seeks
(NTSC).
excellence.
(payable
to
welcome. Founded: 1992.
Contact:
CAAS,
student,
comedy. Awards: cash prizes
Formats:
35mm, 16mm, 70mm,

$35
$45
(early),
White,
110 East Hallam,
(970)
925-6882;
for-
VHS
less).
&
Cats: comedy, short, animation, children, doc, drama,
Entry fees:
all
Preview on
technical
mins &
integrity
entries also
int'l
Formats:
tive.
competitive
Beta SP Preview on VHS.
(final).
Contact: ASF, Brad
New England
as unique as
New England
[email protected];
IL
60680; (773) 562-6265;
www.faaim.org;
www.siskelfilmcen
work must originate
in
Cats: feature, short, music video,
a digital format.
web
content, doc,
the Short Film
in
experimental, narrative, animation. Awards: Best Short
own
Chlotrudis Awards, a non-prof-
organization that honors
& supports independent
VHS
Best Feature. Formats: DV, Beta SP Preview on
film.
(NTSC) or DVD. Entry fees: $25 (shorts), $35 (features).

DVD. Contact: CASFF, Box 605, Reading,
Contact: DDCF, c/o Filmmaker's Alliance,
MA
01867;
#716, Los
Blvd.
Angeles,
4470 Sunset
CA 90027; (323) 876-2649;
[email protected];
876-0939;
fax:
workshops,
Jan. 11-13, UT.
w/ strong narra-
Feb.
Cats: short. Awards: Best Short Film. Formats: S-VHS,
of screenings,
on page 47.
Deadline: Nov. 16. Festival seeks films
aesthetic. All
CHLOTRUDIS AWARDS SHORT FILM FESTIVAL,
FESTIVAL,
days
listing
tives that explore the possibilities of the evolving digital
ter.org
BARE BONES INTERNATIONAL INDEPENDENT FILM
ble to enter the fest. Five
See
itself.
DIGIDANCE DIGITAL CINEMA FESTIVAL,
&
Projects budgeted for less than a million dollars are eliga-
"Rough
c/o
FAAIM, Box 5435, Chicago,
it
(late).
stages
all
of the
FAAIM).
shortsfest@aspen
9-13. Deadlines: Dec. 31; Jan. 31
saw the addition
audience, and behind the scenes help make this long-running festival
www.aspenfilm.org/shortsfest
April
York. Always on the look-
$10
Entry fee:
category of Boston's
film.org;
New
devoted to highlighting independent work from artists at
23-24, MA. Deadline: Dec. 31. Compete
925-1967;
fax:
states or from upstate
CO 81611;
102, Aspen,
Ste.
$20,000.
total
mats.
decided to celebrate
in-progress. A provocative mix of locals, both on the screen, in the
non-competi-
int'l
for short films (30
of
Student
MIT. This eyar, the organizers
Cuts" section, which allows festivalgoers to view and critique works-
short.
6431; [email protected]; www.gayskiweek.com
ASPEN SHORTSFEST,
annual event,
its
Video Festival, which was founded by a group
of their careers. Last year's festival
925-
Awards:
&
out for works that demonstrate a strong personal vision, the festival
on VHS. Entry fee: $10.
#203-
Film
the artistic work of locals by limiting entries to residents of one of the
preview
week's
of the
New England
filmmakers at
of
Am-
film
events for the past 20 years. Cats: feature, short, doc.

Formats:
the
videos by
and/or about Asian
week
Boston
the
year,
Film/Video Foundation cel-
ema & The Gene
bration
01'
American
Asian
lesbian film festival, jan. 20-26,

1.
info@
343-5227;
fax:
cucalorus.org; www.cucalorus.org
April,
Deadline:
[email protected]
CO. Deadline: Dec.
all.
$30
(early);
ASIAN
AMERICAN
IL.
$20
Entry fees:
Contact: CFF, Dan Brawley, Box 2763, Wilmington,
(final).
NC 28402;
CHICAGO
music video,
feature, doc, short, animation, experimental,
Entry fee: $35.
Boyette,
Miami, FL 33126; (305) 262-3330;
Dr.,
30. Chicago's an-
Domestic
James
Director
aspen gay &
SR Preview on VHS.
3/4", 1/2", DVD, Beta
www.chlotrudis.org
www.filmmakeralliance.com8760241
screenplay readings, location tour, youth film projects.
CROSSROADS
FILM
FESTIVAL,
MS.
5-8,
April
Cats: feature, doc, short, animation, experimental, script,
Deadlines: Dec. 31; Jan. 31 (late). Fest's goal
music video, student, youth media. Awards: Auteur
Deadline: Nov. 25. Festival
of the
vide Mississippi
Formats:
8,
3/4", 1/2", S-VHS, Beta
DV.
w/
a forum for indecraft
Entry fees:
$25
(shorts);
$50
film as a vital contribution
& economical
the
vitality of
commushorts
nity
fl
Box 2017, Muskogee, OK 74402; (918)
&
region.
fax:
307-1545;
&
&
to
the
of
medium and
newer filmmakers, w/
its
segments. Fest takes place
35mm, 8mm,
Hi-8, Beta
SR
FL. Deadline: Nov. 20. Festival is
Cats:
Stamford. CT
juried by a panel of film critics.
designed
to qualify the
short,
int'lly for
the ultimate competi-
31. Contact: CFF, Box 22604, Jackson,
Preview
352-5230;
10 filmmakers
Fest's top
Shootout"
will
enter the
"BIFF
MS
Student
compet-
Founded: 1999.
16mm. 35mm.
Formats:
feature.
on
VHS.
Entry
fee:
$100.
Contact:
39225; (601)
Beta.
Nelson. Box 312, South Salem,
DVFF.
533-0270;
fax:
533-0269;
NY 10590;
intlfilm@thedirec-
www.crossroadsfilmfest.com
torsview.com; www.thedirectorsview.com
each
will
be awarded the
same
grant
&
CUCALORUS FILM
FESTIVAL,
March
20-24,
NC.
DOUBLETAKE DOC FILM FESTIVAL,
time to produce a short. The overall winner of the "BIFF

Deadlines: Nov. 15 (early); Dec. 15
Shootout"
is
[email protected];
(914)
tion.
Int'l
&
Docs, experimental); $10 (student); add $10 after Dec.

Elizabeth
top ten indie filmmakers
narrative
Beta, 3/4", Pixel Vision, DV.

itive,
FESTIVAL, March,
medium.
raised the
features
Independent &
in
Preview on VHS. Entry fees: $45 (feature); $25 (short,
BUMPMEDIA INTERNATIONAL FILM
who have
features from established directors as well as
16mm,
barebonesfilmfest@
yahoo.com; www.barebones2002-sites.cc
15-18, CT.
Feb.
dedicated to the director's
presents directors
Founded: 1999. Cats: feature, doc, short,
student, music video, experimental. Formats:
483-9701;
level
artistic
educational
is
firmly believes film to be a director's
toward the cul-
(fea-
Contact: BBIIFF, Shiron Butterfly Ray, 401 West
Broadway, 2nd
&
Fest honors
tural,
tures).
the Southeast
SR super
showcasing
Hi-8,
&
pendent films & filmmakers from around the world,
35mm, 16mm,
8mm,
DIRECTOR'S VIEW FILM FESTIVAL,
pro-
Grand Jury Awards.
Audience Choice Award,
Year,
is to
will
Annual
(final).
Deadline: Dec.
is
write a film for worldwide distribution through
Media Group & BumpMedia Films. Cats: doc,
held
in historic
music video. Awards
for all cat. incl.
10 best Filmmakers Shootout. Formats:
All
lengths are accepted.
Cucalorus
is
known as
NC.
work
to
screen at the premier doc fest
in
North America. Fest offers diverse programming that

for
filmmakers, w/ tours
of
Screen
Gems
combines the work
Top
35mm, 16mm,
4-7.
5th annual event seeks recent cre-
3.
formats,
ative doc
&
short, fea-
"summer camp"
ture, animation,
downtown Wilmington, NC.
Crimson
genres
April
festival
receive a grant to produce, direct and/or
Studios, Joe Dunton's
Camera House & numerous panel
discussions throughout the week.
of
established
ans & offers these filmmakers &
& new documentari-
all
guests, a relaxing.
Founded: 1994. Cats:
November 2001
THE INDEPENDENT
45
Nashville Independent Film Festival

Celebrate Your Independents
June 5-9, 2002
adMI
deep ellum film festival

Early Deadline:
jj
December
Official Deadline:
jgsfjf:
Nov 14-18,2001
21
February
Dallas
TX
www.def2.org
1
a presentation
of DEFMAN a non-profit 501(c)(3)
arts organization
615-742-2500 ph 615-742-1004 fax
North America's Premier
big muddy
i
f e s
Independent
Film Festival!
v a
THE HOUSTON INTERNRTZONML FILM FESTIVAL
february 22
march
3,
35 ANNUAL
002
WorldFest Houston
April 5-14, 2002
showcasing the best in animation

documentary, experimental, and narrative
Deadlines for Entries:

Earlybird:
November
15,
2001
Regular: December 15, 2001
late Deadline (extra fee applies): January 15, 2002
618.453.1482
www. bigmuddy film. com
For Poster, Entry Kit, and Information contact:

P.O. Box 56566 Houston, TX USA 77256-6566
713-?65-9955 (USA) FAX 713-965-9960 [email protected]
www.worldfest.org
cal for entries
US/International
^SHowFilm Division
All
Edition!
The AIVF Guide
mgm (30 niihutes or less)
International Film
Video Festivals
Edited
'
New
by Michelle Coe
SUBDIVISIONS
Open, 8 mm and
underground.
Up-to-date profiles of over 900 film
& video
First
GENRES
published
Festival
lished
Narrative, animation,
experimental, and
documentary.
festivals
with complete
contact and deadline information.
tion
Guide
in
is
1982, AlVF's
the most estab-
and trusted source of informa-
and inside views of film and
video festivals around the world.
Supplemented by selected
from The Independent's
DEADLINES
Early: Dec.
Final: Jan.
01,2001
15,2002
Circuit
reprints
Festival
column, the guide profiles
over 40 festivals from the
filmmaker's perspective.
$35 / $25 AIVF members
plus shipping
and handling.
www.kcjubilee.org
913. 6H9.02HH
TOTALLY INDEPENDENT
to
&
r^
intimate atmosphere. Entries must have been complet-
ed between Jan.
1,
than 180 min.
2000 & Dec.
Founded: 1997. Cats: doc,
length.
in
Audience Award, Jury Award,
Awards:
animation.
Center for Doc Studies Filmmaker
$2,500 worth
2001 & be no more
10,
Kodak donates
Prize;
cash prizes awarded. Preview on VHS (PAL or NTSC).
Pritchard
16mm, 35mm,
Beta,
Preview on VHS (NTSC preferred).
DigiBeta,
DV.
Deadline: Jan.
Montana the
27705;
660-3699;
(919)
Durham, NC
ddff@
681-7600;
fax:
Festival
is
1-7, NJ. Deadline: Dec.
accepting features,
currently
1.
short films
(under 20 mins.), docs, animation, graduate student
&
films, screenplays (long
& completed submission form
s.a.s.e.
any
script, student,
style or genre.
Best Picture, Best Short
16mm,
&
Awards: Awards given
Best Screenplay. Formats:
SR
(shorts,
$20
Entry fees:
under 20 min./pgs); $25 (feature). Contact: DFF,
c/o Shoehorn Prods, Visjna R. Clayton, Din,

Dover, NJ 07801; (973)
St.,
Web
on
(avail,
Cats: feature, doc, short, animation, experimental,
site).
for
Send VHS submission,
short).
24 Boonton
361-8392; (646) 295-8444;
[email protected];
doverfilmfest.shoe
is to
foster
&
hosting a wide-range of
fest,
&
&
private
receptions. Fest's mis-
knowledge & understanding
of wildlife
& honest
&
habitat through excellent
wildlife films
&
other
&
Environmental
filmmaking & distribution.
wildlife,
in
Music Video ($75), Children
entry fees:
News
($100), TV ($150),
Human Dimensions
Non Broadcast ($100),

Awards:
Best
Newcomer
Soundmix,
Best
Animal Behavior, Use
Editing,
Graphics
of
made
in
Ireland, or by
Irish
of Irish
theme.
All
descent
VHS (NTSC,
Fernandez,
fees:
see above). Contact: IWFF,
cat,
an
Irish
filmmaker, or by a
living outside Ireland, or
w/ an
iwff@
27
IWFF,
MT 59804;
Missoula Rd. Ste.
Fort
(406) 728-9380; fax: 728-2881;
writer(s) of Irish descent living outside of Ireland. Scripts
open
must be over 80 pages & don't need
be
to
2000
cial selection. Cats: feature, doc, short,
Cats:
&
screen-
underground. Awards: Top film
eligible for offi-
animation, script.
York,
Preview on
DV, Beta, DigiBeta.
$30 (screenplay). Contact:

Dir.,
NY 11228; (212) 966-3030
x.
29 Greene
St,
New
247; fax: 965-9520;
$1,000
least
$66,000
all
experimental,
narrative,
in
cash or
of
cash & prizes
KS.
short films 30 min. or less.
int'l
themed
Awards: Screenplay Award, Feature & Short Film Awards.
Terence Mulligan, Fest
domestic &
to
4-8,
April
Jan. 1 (final). 6th annual event
1 (early);
Irish
be accepted. Cash awards to feature, short
FFIIFF,
animation,
each genre
in
8mm,
doc,
will
win at
Fest awarded
prizes.
over
the last four years. Formats:
in
formats accepted. Preview on VHS. Entry fees: $20
(early);
$25
Prairie
Village,
4826 W. 77th
Contact: KCFJ,
(final).
Terrace,
kdub@
KS 66208; (913) 649-0244;
kcjubilee.org; www.kcjubilee.org
FESTIVAL,
19, CA. Deadlines: Dec. 15 (early); Feb.
HAZEL WOLF ENVIRONMENTAL FILM FESTIVAL,
April
Apr. 12-
performances
presents the best
films
environmental films from around
& an environmental media workshop
Seeking works
in all
series.
genres, addressing environmental
w/
issues. Special consideration to works associated
environmental campaigns.
Max
length
short written description of the film

tional material &/or materials
optional).
(checks
payable
Preview
to:
& sample
of
Incl.
promo-
from campaign. Formats:
VHS (w/ your name & contact

s.a.s.e.
60 min.
info written
on
VHS.
on the tape;
Entry
Fee:
$25
Moving Images VP). Contact:
HWEFF, c/o KCTS, 401 Mercer
St.,
Seattle,
WA
98109;
of
1 (late).
Named
Method," fest highlights the great
for the "Stanislavski
11-14, WA. Deadline: Dec. 10. Fest (formerly Equinox)
the world
independent
w/ outstanding
Founded:
acting performances.
1999. Cats: feature, short, student, children. Awards:

Sculpted statuettes
in
various cats, film services
Best Actor, Actress, Screenplay. Formats:

Beta
SR
DV, DigiBeta,
student: $25; shorts:
$40
(early),
Enterprises,
$50
& 5000
Awards
feet of Fuji Motion Picture Film to winning film.
FESTIVAL,
Feb
Deadlines: Nov. 15 (early); Dec. 15
accepting short shorts
thoughts
&
& shallow
yes, again,
Formats:
all
&
28-March
(final).
2,
NC.
Festival
is
not-so-short shorts w/ deep
pockets. Three days of music, movies
pancakes
in
the shape of your
formats accepted.
level
workshops. Fest
&
panels, screenings, parties
workshops,
incl.
awards ceremony.
closing
short narrative, animation,
incl.
youth
pilots only), family/children, short,
media, children. Awards: cash prizes awarded
for all
cats plus a special award: The Regal Cinema/Nashville
Independent Film
Dreammaker Award which
Festival
grants the award-winning film a week's run
Cinema
award
for
a Regal
in
Los Angeles county which then qualifies the
in
Academy Award
consideration. 1st prize
& animation
in
the
cats also qualifies winner for
consideration. Formats:
35mm, 16mm,
Beta, DigiBeta. Preview on VHS. Entry fees:
$10 (young
filmmaker-high school age or younger); $30/$35 (under
60 min.); $40/$50 (over 60 min.). Contact:

Gordon, exec,
NIFF, Brian
Box 24330, Nashville, TN 37202;
dir.,
(615) 742-2500; fax: 742-1004; niffilm bellsouth.net;
Awards: Cash
www.nashvillefilmfest.org
NEW ENGLAND FILM & VIDEO

New
to
16mm, 35mm,
8-13, MA.
Contact:
(late).
880 Apollo
St.
Ste.
fax:
(late);
MFIFF,
337,
El
535-9128;
features:
Franken
c/o
Segundo, CA
Don@method
Jan.
is
New
in
&
req. for eligibility). Also
open
New
24-Feb
3,
to
Spanish
merit
language,
&
works while attending
England college or Univ., or any undergrad or grad
who maintains New England
residency while attending
college elsewhere. Student entries
must have been com-
pleted while a student. Cats: All lengths
&
genres, doc,
in
cash & services, plus awards
w/
cats
distinctions for film
16mm,
3/4",
entry);
$25 (students,
8mm.
&
in
&
student
Formats:
35mm,
several indie
video.

first entry);
$10 (any
(first
additional
entries). Contact:
NEFVF Boston Film/Video Foundation,
1126 Boylston
#201,
1540
x.
St.
Boston,
MA
02215; (617) 536-
536-3576; [email protected]; www.bfvf.org
18; fax:
NEW YORK LESBIAN AND GAY FILM

16, NY. Deadlines: Dec.
22
FESTIVAL, June 6-
(early); Feb. (final, call for
film, video
&
programs, fest showcases
& new
shorts, docs
&
media
all
of
dramatic features
experimental works)
by, for. or of inter-
men. bisexuals.
incl.
or
transgendered
Proposals for lecture
presentations, curated film/video programs
media
cul-
(incl.
digital
est to lesbians, gay
active
&
genres
installations
also
accepted.
&
&
filminter-
Founded:
1989. Cats: feature, doc, experimental, short. Awards:

Jury
awards
for
Best Narrative Feature, Best Feature Doc
All
& Best
Short,
Audience Award. Formats:
Digital.
CD-
originality.
Kids
movies,
initials.
Midnight Madness,
& non-
Preview on VHS. Contact: MFF, Laura Rooney. Managing
in
VT,
any undergrad or grad stu-
his or her
Deadline:
FL.
most moving films from around the world.
Made
Rl,
Westchester Co. (residency
incl.
who has completed
dent
by any
a resident or stu-
is
England states: CT, ME, MA, NH,
upstate NY, north of
clip
an important regional cultur-
films are chosen for their artistic

feature,
dent
persons. Jury awards
event that features more than two dozen of the best
doc,
independent video or filmmaker who
deadline date). Committed to presenting diverse
MIAMI FILM FESTIVAL,
crafted,
new works
competitive regional fest devoted to
turally inclusive
$40
(early),
fest.com; www.methodfest.com
Cats:
April
DVD. Preview on VHS.'Entry fees:
90245; (310) 535-9230;
al
FESTIVAL,
England's 27th annual primary
$30
Nov. 15. Annual festival
MOM! FILM
high-end industry
Seeking story driven
film.
www.hazelfilm.org
HI
independent
of
programs over 150 films & provides
experimental, animation, feature, short. Awards: $7,000
[email protected]; www.FilmFleadh.com
in
the
is
reputa-
int'l
media. Festival
Deadline: Dec. 15.
Deadlines: Dec.
play winners. Films produced since
2,
the following cats:
in
Irish-American writer or
Irish or
(film);
& encouragement
support
its
w/ an
wildlifefilms.org; www.wildlifefilms.org
KANSAS CITY FILMMAKERS JUBILEE,
VHS. Entry fees: $25
for
fest
Festival,
the South
in
5-9.
Formerly
(final).
3rd annual fest open to
1.
genres accepted
35mm, 16mm,
tion
Academy Award
AniMerit
DigiBeta, VHS, S-VHS, PAL. Preview
competition open to an
Formats:
& Video
Film
longest-running film fest
&
SECAM), U-Matic (NTSC). Entry
PAL,
feature, short, doc, experimental, animation. Screenplay
to
the Sinking Creek
short narrative
areas of excellence. Formats: NTSC Beta,
for
Missoula,
filmmaker
TN. Deadlines: Dec. 21 (early); Feb.
Script,
&
mation, Educational Value, Scientific Content
Awards
($75),
media.
youth
children,
TV,
($150),
Best of Fest, Best of Category, Best of Craft,
incl.
Photography,
Narration,
View ($75),
story ($50), Point of
($150),
School Group ($25), Amateur ($50),
Katie
films
[email protected]; www.miamifilmfest.com
TV (episodic &
are involved
Categories
$25-$200 (depending on
NY Deadline: Dec.
PC 230,
577-9768;
fax:
who
FILM FLEADH: IRISH INTERNATIONAL FILM FESTIVAL,

14,
377-3456;
(305)
doc, feature, student, experimental, young filmmakers,
on
May
FL 33199;
media. The IWFF strives to build bridges for the peolpe
NTSC Beta SR NTSC
hornproductions.com
Missoula,
in
the world's longest running juried
is
screenings, panel discussons

sion
20-27,
Apr.
special events, workshops, seminars, public
duke.edu; www.ddff.org
DOVER FILM FESTIVAL, May
& based
Created
15.
festival
$35.
Entry fee:
St.,
Miami,
NASHVILLE INDEPENDENT FILM FESTIVAL, June

INTERNATIONAL WILDLIFE FILM FESTIVAL,
wildlife film competition
1317 W. Pettigrew
DDFF,
Contact:
NC 27516; himomfilm-
Hill,,
each award winner.
of stock footage for
1/2",
Chapel
Ave.,
Contact: HMFF, 401
(final).
[email protected]; www.metalab.unc.edu/cpg
MT.
Formats:
$10
Entry fee: none (early);
Director, Florida Int'l University, University Park,
Miami. Formats:
35mm.
ROM, 35mm, 16mm.
3/4", 1/2", Beta
SR
Beta. Preview
on VHS. Entry fees: $15 (early); $25
(final).
NYLGFF, Basil Tsiokos, 47 Great Jones
St..
November 2001
6th
Contact:
fl..
THE INDEPENDENT
New
47
NY 10012; (212) 254-7228;
York,
254-8655;
fax:
FILM FESTIVAL, March

Dec. 15
(early);
Guadalupe Theater &
historic
&
shops, panels
NEW YORK UNDERGROUND

12, NY. Deadlines: Dec.
the
at
els
throughout San Antonio. Fest
[email protected]; www.newfestival.org
showcase
New
(final).
young filmmakers. CineFestival's Premio Mesquite &

be given
will
the following
in
beyond
for films that go
&
cats: narrative (feature
mainstream
venues
in
premieres, work-
incl.
special screenings of videos produced by
6-
honorable mention awards

York City's premiere
will
short), doc, experimental, First
& commercial concerns.
expectations
Work/Emerging
&
Artist,
Award
a special Jury
will incl.
to
Founded: 1994. Cats: narrative feature, narrative short,

entry
best
that
the
exhibits
CineFestival.
of
spirit
doc, experimental, animation. Awards: Juried prizes for
Founded:
1978.
Cats:
feature,
short,
animation,
doc,
Best Feature, Best Short, Best doc. Best Animation, Best

experimental. Awards: Prizes
Work
cats, plus First
in all
Experimental, plus the Festival choice award. Formats:
Award &
35mm, 16mm,
super
1/2",
3/4", 1/2",
Preview on VHS.
Beta.
8,
35mm, 16mm,
Jury Award. Formats:
Beta SR Preview on
VHS (NTSC).
$10
Entry fees: $20;
Entry fees: $30; $35. Contact: NYUFF, Ed Halter, 151 1st
& community youth
(students: high school, college
Ave.
#232, New
NY 10003; (212) 340-9476;
York,
train-
fax:
SACF Ray
programs). Contact:
ing
Santisteban,
Dir.of
675-1152; [email protected]; www.nyuff.com
Media
26-27,
April
Deadline:
NY.
Dec. 15. 6th annual fest invites media artists working
&
abstract
non-narrative electronic motion imaging,
w/ music/sound
conjunction
Guadalupe Cultural Arts Center,
Arts,
Guadalupe
1300
San Antonio, TX 78207; (210) 271-3151
St.,
in
x.
in
www.guadalupeculturalarts.org/media.html
design, to submit programs
SAN FRANCISCO INTERNATIONAL FILM FESTIVAL,

under 10 min
length. Fest
in
interested
is
April
work made
in
18-May
w/
2,
CA. Deadline: Dec.
anima-
(docs, shorts,
technologies, the primary criterion being the aes-
all
& preview:
Formats
3/4",
Jan.
TV);
(narrative features).
be
Founded
broadcast.
&
experimental
tion,
&
thetic of the electronicscreen. Screenings will tour
in
1957 & the oldest
film fest in america, SFIFF
S-VHS.
Hi-8,
is
presented each spring by the San Francisco Film
Founded: 1996. Cats: Non-narrative, Electronic Imaging.

Society showcasing approx.
200
&
features, docs
shorts;
Awards: Non-competitive. Preview on mini-DV. Contact:
Box 496, 33 Lancaster
NSAF,
13320; (607) 264-3476;
fest
is
film
&
NY
Cherry Valley,
St.,
dedicated to highlighting current trends
w/an emphasis on work w/out
video,
in
int'l
U.S. distrib.
264-3476; notstillart@
fax:
Fest has two sections: the invitational, noncompetitive
improvart.com; www.improvart.com/nsa/
section for recent features, archival presentations, retros
OUT FAR! PHOENIX
INT'L
LESBIAN & GAY FILM
FESTIVAL, Feb. 14-17, AZ. Deadline: Dec.
&
length
Feature
1.
short films are geared towards the alternative
community
at large.
themes &
variety of subjects,
messages are programmed. Founded: 1997. Cats: feature,
doc, short, animation. Awards: Viewer's Choice:
&
awards &
special
incl.
Visions
819 Solano
Ettinger, Vision Events, Inc.,
85013;
686-8542;
(602)
Out
Contact:
Amy
Far,
Phoenix,
Dr.,
AZ
[email protected];
www.outfar.org
for
& Bay Area
NY
$1,000
Dec.l.
Premier NYC venue celebrating the

the ingenuity
& community
Divisions will
in
artistry
30 min.
incl.
for
feature,
animation,
a juried cash
Best Narrative Feature, Best Doc Feature.
Kurosawa Award;
Akira
incl.
Owens Award. Formats: 35mm, 16mm,
J.
16mm, 35mm,
Formats:
SR
DigiBeta, super 8,
8mm,
70mm,
Hi8,
3/4",
DVD,
student,
1/2".
music video.
Prize,
or less. Founded: 1995. Cats:
experimental,
doc,
SKYY
outstanding filmmaking. Audience
& animated
Beta, Beta
short,
fest
of
Peter
of
New
video,
independent film-
of
makers. Seeks narrative, experimental, doc
& videos
&
compete during the
cash. Narrative features by emerging
Noncompetitive awards
films
certificates of
Best Doc, Best Bay Area Doc,
for
eligible for the
$10,000
of
awards
&
&
the film
in
Deadline:
award
shorts
music video,
Best Short & Best Bay Area Short. Grand Prize awards
filmmakers
April,
Gate winners
Grand Prize awards
incl.
PHAT SHORTS: THE FILM FESTIVAL,
Founded: 1957. Cats: fea-
Golden Gate Award w/ $500 cash
35mm,
fee.
TV.
student, youth media, TV, any style or genre. Awards:
merit. All Golden
No entry
&
animation, experimental
individual
for doc, shorts,
ture, doc, short, animation, experimental,
Best Film, Best Short, Best Lesbian, Best Gay. Formats:

1/2".
recognizing
tributes
acheivement & the competitive section
1/2",
VHS
Preview on
DVD. Entry fees: $45-$200
or
Beta,
(depending on length of film or video). Contact: SFIFF,

DigiBeta, DVD. Preview on
VHS (NTSC
only). Entry fee.-
Doug Jones, 39 Mesa
Ste.
St.,
110, The Presidio, San
$15. Contact: Phat Shorts, Packawallop Productions, 136

Francisco,
East 13th
St.,
New
CA 94129; (415) 561-5000;
561-5099;
fax:
NY 10003; (212) 979-6792;
York.
[email protected]; www.sffs.org
[email protected]; www.phatshortsfest.com
PORTLAND JEWISH FILM FESTIVAL,
SEDONA INTERNATIONAL FILM FESTIVAL. March

Jan.
16-Feb.
1-3,
6,
AZ. Deadline: Dec.
(early); Jan.
(final).
7th annual
OR. Deadline: Nov. 15. Festival seeks dramatic features,

fest features the finest in current
docs, shorts
& experimental works
pendent cinema,
themes &
culture.
animation,
short,
tributes,
panel discussons
workshop
entitled
"Visual
Imagination." Cats: dramatic
&
w/
16mm, 35mm.
Image w/
& doc
(features
&
Include press
entry,
35mm.
PJFF,
Institute for Judaic
Preview on VHS. No
for full-length
entry fee.
2900
SW
Contact:
&
short films. Formats:
Peaceful lane, Portland,
fax:
16mm, 35mm.
&
OR 97201; (503) 246list
Entry fees:
$35
(shorts,
30 min. & under); $50
TX. Deadline: Nov. 19.
longet running
int'l
Now
Feb.
in its
20-24 & March
1-3,
24th year, the country's
Chicano/Latino film
&
video fest
feature seven days of film screenings, workshops
November 2001
shorts),
Best of Festival
Preview on VHS. Send VHS preview tape, synopsis,
SAN ANTONIO CINEFESTIVAL,
THE INDEPENDENT
Studies,
complete production credit

8831;
in-
Effects:
animation. Awards: Audience choice

still
inde-
& an
experimental, family, children.
Formats: VHS, Beta SP

materials
int'l
Founded: 1995. Cats: Feature, Doc,

depth
doc,
American &
that touch on Jewish
will
& pan-
entries
(features);
postmarked before Dec.
Hwy 89A,
or (520)
Ste.
1.
$10 discount
for
Contact: SIFF, 1725 W.
#2, Sedona. AZ 86336; (800) 780-2787
282-0747;
fax:
www.sdonafilmfest.com
SHERO FILM
Feb
(early),
who
color
FESTIVAL,
18-21,
April
consistently stars
works
highlights the
of
docs are presented at the
women.
Fulton
3616;
&
it
cre-
martial
incl.
Prize,
(non-comp).
$10 feature/$10 shorts
video. Entry fees:
Contact: SFF RAFS,
(final).
NY 11217; (718) 670-
Ste. 139, Brooklyn,
St.,
Action
Awards: Grand Jury
fest.
$20 feature/! 15 shorts
(early);
655
whom
features of any genre
& Audience Choice
Prizes
16mm,
&
&
non-traditional roles
in
ated stereotype-busting roles for
Formats:
Deadline: Dec 13
arts films, animation, shorts
Runner-up
NY
Festival honors a leading actress of
(final).
596-0603; www.ighmultimedia.com
fax:
SPINDLETOP/LAMAR UNIVERSITY FILM FESTIVAL, Feb

1-3, TX. Deadline: Dec. 15. 3rd annual fest
dedicated to
is
new & emerging filmmakers.
bringing to light the work of
directors
&
for the networking
&
& master classes w/ writers,
Enjoy workshops
industry professionals. Fest
contact opportunities
is
known
provides for participants. Cats:
it
experimental, feature, narrative, "1st time/novice" film-
maker, music video, animation, "old timers." Formats:
16mm, super
DigiBeta, Beta
8,
SR
1/2",
Beta,
S-VHS,
3/4", Hi-8, DV, U-matic. Entry Fee: $20;
$15
Contact: SLUFF, O'Brien Stanley, Depy of
Comm./Lamar
(student).
Box 10050, Beaumont, TX 77710; (409) 880-7222;
Univ.,
[email protected]; www.spinfest.com
TAMBAY FILM & VIDEO FESTIVAL,

Deadline: Dec.
5. Festival strives to
&
public, potential distributor
4-7,
April
FL.
present work to the
other filmmakers, as well
as creating a film forum for Florida filmmaking. Founded:
& non-cash
1999. Awards: cash
prizes
Humanitarian Award, Best of Show
Award
Formats:
cats.
New
Best
in
Director, Reel
&
16mm, 35mm, S-VHS,
Jury
Beta.
Preview on VHS. Entry fees: $35 (35mm); $30 (16mm/all
$25
video formats);
Saddle Creek
Contact:
(student).
TFVF,
16002
Tampa, FL 33618; (813) 964-9781;
Dr.,
[email protected]; www.tambayfilmfest.com
TELEVISION DOC FESTIVAL, May,
Museum
The
that
of Television
&
NY. Deadline: Dec. 15.
Radio hosts this annual fest
showcases the outstanding
taries
past year
of the
chance
to
documen-
television
giving the
second
public a
see quality work (on the big screen)
&
to cel-
ebrate the work of important doc makers. The two-week

fest consists of docs that
unaired programs.
programs
In
highlight the
will
documentarian
have aired & premieres
work
No entry
VHS.
on
Simon/Allen Glover,
West 52nd
St.,
New
(212) 621-6699;
Museum
York,
25
fee.
(late). Festival is
SR
DigiBeta, DV.
Contact:
of Television
TDF,
&
Ron
Radio, 25
NY 10019; (212) 621-6600;
TVDocFest
TEXAS FILM FESTIVAL,
prominent
of either a
or a specific genre.
doc, TV. Formats: S-VHS, Beta, Beta
Preview
of
addition, a sidebar of three to six
mtr.org;
www.mtr.org
Feb., TX. Deadline: Nov. 14; Nov.
a non-competitive invitational fest
MSC
run entirely by student volunteers w/in the
Film
Since 1993, their purpose has been to celebrate
Society.
contemporary independent filmmakers &

as an artistic
to
promote
medium focusing on education
film
rather than
securing distribution. Founded: 1993. Awards: $200 for
Best Feature; $200 for Best Doc
$75
for
Best Short.
Preview on VHS. Entry Fee: $35 (features); $25 (student

features;
$15 (non-competitive Features); $10
$15 (additional
TFF, c/o
MSC
if
postmarked
(Shorts);
after Nov. 25.). Contact:
Film Society, Texas
A&M
Univ.,
Memorial
November 2001
THE INDEPENDENT
49
E)
Student
Box
Ct,
845-1515;
Final
Cut Pro
[email protected]. edit;
software
24 Frame
editing
TX 77844; (409)
[email protected];
ww.msc.tamu.edu/msc/film
event held
FESTIVAL, Feb. 27-March
Festival
1.
the annual
is
HBO-sponsored
stand-up & sketch
film, theater,
are selected from over
to
800 submissions.
No entry
shorts
Cats: feature,
Film
Attn:
CA
L.A.,
201-9445; kevin.haasarud
fax:
300 GB
card
storage
FESTIVAL,
(late).
maximum
60 feature & 100
of
short premieres,
w/
American &
Independent feature films. WorldFest
Int'l
& absolute emphasis on
total
days w/
six
1988. Cats: Short, Feature, Any style or genre, doc.
Awards: Best
Animation
Best
Best
Irish Short,
must be
(all
Grand
going to top test winners.
Prize,
&
TV.
Fest also offers
plus distribution
directing,
&
Founded: 1961.
finance.
music video, student, youth media,
tion,
children,
TV,
Awards: Student Awards Program. Scripts &
ROM, Web. Preview on VHS.
Entry
in
16mm,
3/4", 1/2", Beta SP, S-VHS, DigiBeta, U-matic, DVD,
DigiBeta. Preview on VHS. Entry Fee: 15
Contact: WFHIFVF,
Oil 353 91 751655;
HONG KONG INTERNATIONAL FILM
1438;
larly
incls.
selection
of
CD-
a valuable
West
showcase
J.
No entry
fee. Contact: HKIFF, Film
Leisure
&
Administration
Hong Kong
Bldg.,
[email protected];
Foreign
Oil
&
intimate
ing
2734
852
2903;
FESTIVAL,
Festival
is
12-18,
April
held
a relaxed,
in
LONDON LESBIAN & GAY FILM

& gay
1997.
New & unknown

any
to apply. Cats:
filmmakers are
style or genre.
Awards: Jury
Prize (Best Narrative Film), Jury Prize (Best Doc).
& Audience
Aideen
Bermuda
Choice Award. Formats:
entry fee,
Ratteray
Contact:
BIFF
Hamilton
HMMX, Bermuda;
$15
Pryse,
for
UK & must have been produced
35mm,
HM
2963,
(441) 293-FILM; fax: 293-
Nov. 16. Since
FESTIVAL, March 8-23, UK. Deadline:
its
gone from strength
inception
1985, the festival has
in
to strength, presenting
films from around the world. Festival
Awards
highlighting the
work
of
new &
classic
the Shine
incl.
new European filmmak-
ers as well as the ever-popular Widescreen
Weekend
which draws large format enthusiasts from around the

97 Grand Street Suite 6N New York NY 1 001
1
21 2.965.0908 www.post-typhoon-sky.com
50
THE INDEPENDENT
November 2001
globe
w/
up
&
to
the
incl.
44
Coombes,
20
7815
VHS. No entry
fee. Contact:
fest administrator, National Film
1323;
Museum's
ability to
show every
film format
Cinerama & IMAX. Cats: doc, feature, exper-
imental. Formats:
35mm,
Beta
SP.
petitive fest features
44
fax:
UK SE1
Preview on VHS. No
about 100
8XT;
7633
20
1.
FESTIVAL,
Annual com-
shown
titles
Oil
0786;
to audi-
ences estimated at 13,000 over 5 days. Main feature

latest films
Program
from Nordic countries plus
seminar
incls.
different
Swedish Film
for teachers
theme each
Institute
debates & seminars
in
Cats:
70mm, 35mm, 16mm,
Formats:
short.
doc,
March 12-17, Sweden. Deadline: Dec.
film;
Box
3-17,
experience.
last 2 years.
in
Theatre, South Bank, Waterloo, London,
tape return.
7769; [email protected]; www.bermudafilmfest.com
BRADFORD FILM
& INDEPENDENTS
&
MALMO CHILDREN & YOUNG PEOPLES
Shorts Award
ARTISTS
identity
[email protected]; www.llgff.org.uk
It
April
Submissions must not have been previously screened
work-
to all films.
5206;
noncompetitive
int'l
open-
Founded:
encouraged
FESTIVAL,
15th annual
8.
incls.
open
is
shops, lunchtime "Chats With" series at local coffe houses.
2366
852
fax:
parties, tributes to excellence in Film,
casual setting
& wrap
1.
7,
10
Centre,
Cultural
[email protected]; www.hkiff.org.hk
LLGFF, Carol
Bermuda. Deadline: Dec.
Office,
Level
Salisbury Rd., Tsimshatsui, Kowloon, Hong Kong, China;
8mm,
BERMUDA INTERNATIONAL FILM
35mm, 16mm.
Programmes
Department,
Services
Hunter Todd, Festival Director, Box
965-9960;
(713)
fax:
Asian works that allows the
for
feature, doc, short, animation. Formats:
Cultural
& videos
films
riches of Chinese cinema. Cats:
to discover the
feature,
REDUCED RATES FOR
& Hong Kong
Asian,
Int'l,
www.worldfest.org
NO COMPRESSION
FESTIVAL, March
26-April 10, China. Deadline: Early Dec. Festival regu-
fest addressing lesbian
353 91 735831;
fax:
$40-$90.
fees:
56566, Houston, TX 77256; (713) 965-9955/(800) 524-
FULLY EQUIPPED
Monivea Rd, Galway,
euro. Contact: GFF, Cluain Mhuire,
UK. Deadline: Dec.
COMFORTABLE,
&
35mm,
Best Feature Doc. Formats:
First Feature,
screened at various venues. Fest has been recognized as
is
cash & equipment awards. Formats.- 35mm,
MANAGEMENT
Best Doc, Best
First Short,
directed by Irish filmmakers)
Remi Statuette
screenplays also have competition. Over $10,000
INCLUDING BUDGET
from
critics
int'l
other publications. Founded:
Cinema Retrospectives among 200
family.
Irish films
honors films from Mexico, Canada, France & Germany.
Cats: feature, doc, short, script, experimental, anima-
Deadline:
new
cinema. Over 60 features &
int'l
Comment &
Film
Ireland.
for presenting
WorldFest has reduced the num-
video, independent/ experimental
PostTyphoonSky
44
[email protected]; www.galwayfilmfleadh.com
3-day seminars on writing screenplays, producing &
21
National
Television, Pictureville.
5-14, TX. Deadlines: Nov 15 (early);
April
Associated market for features, shorts, documetaries,
2-228-4254
Variety,
Ireland;
ber of films screened to a
www.earthvideo.net
&
July 9-14,
The foremost fest
16mm, Beta SR
WORLDFEST HOUSTON INTERNATIONAL FILM & VIDEO

Dec. 15; Jan 15
ID
1.
80 shorts screened over
Program, 2049 Century Park East, Ste. 4200,
90067; (310) 201-9595;
Dec.
alongside cutting edge
USCAF
Contact:
fee.
GALWAY FILM FLEADH,
& 25
@hbo.com; www.hbocom edyfest.com
Igniter Film
Kavanagh,
Lisa
INQ; Oil 44 1274 203308; fax:
an industry-
16mm, 35mm. Preview
short (under 60 mm.). Formats:
VHS.
UK BDI
Bradford,
BFF,
Photography, Film
of
CO.
3,
Aspen, Colorado that features the best
in
heavy audience. Approximately 25 features
on
Contact:
fee.
Museum
filmfest.org.uk
COMEDY ARTS
comedic
entry
1274 770217; [email protected]; www.bradford
Deadline: Dec.
Filmlogic
845-5117;
society/fest
U.S.
Betacam 8P, DVCAM

DV, Timecode DAT
Uncompressed video
J-l, College Station,
fax:
&
&
Film
is
Panorama.
others
who use
Co-produced w/
year.
for people
Int'l
Skane. Fest also
working w/
also meeting place for the Children
&
incls.
film. Fest is
Youth film
in
Northern Europe. Founded: 1984. Cats: feature, short,

doc, animation. Awards:
50.000 (approx. $5,400)
City of
Malmo Award, SEK
to best film.
Formats:
35mm,
entry fee. Contact: MCYPF,
Lennart Strom, Box 179, S-201, Malmo, Sweden S-201

21;
Oil 46 40 30 91 64;
fax:
46 40 30 53 22;
[email protected]; www.buff.nu
OPORTO INTERNATIONAL FILM FESTIVAL-FANTASPORTO,
Feb.
22-March
Now
22nd
edition,
in
2, Portugal.
Deadline: Dec. 15.
noncompetitive fest debuted
in
1981, founded by editors of film magazine Cinema Novo
& has
evolved into competitive test for features that
&
focus on mystery, fantasy
sci-fi. Official
& 2nd
1st
thematic
(no
films
Out
strings);
& screens
gether
12 theaters
in
retro
w/ 2,500 seats
alto-
networks. Entries must have been completed

2 years. Awards:
& TV
previous
in
Best Film, Best Direction, Best
incl.
Best Screenplay,
Best Special
16mm, 35mm. Preview on VHS (NTSC

Contact:
Anibal Cunha, 84
sala 1.6,
4050-048
We
provide
and
artists
Final
broadcast
to
quality
post-production
video
services
Rua
Director,
Protools
Talented Editors
Film to Tape
Transfer
support:
$1 75/hr.
[email protected]; www.fanta sporto.online.pt
$ 85/hr.
QUEERDOC (QUEER SCREEN'S LESBIAN & GAY DOC
Animation Stand
$ 85/hr.
1.
Commotion Pro
at
HDCAM 24P/60i
Porto, Portugal;
351 222 076 059; fan-
fax:
Sept. 6-9, Australia. Deadline: Dec.
Betacam
Betacam SP
Digital
Digital Audio
Post
DVCPRO/DVCAM/DV
U-matic
$ 85/hr.
Also presents the Sydney Mardi Gras Film Festival.
Founded: 1998. Cats: doc. Awards: Audience Award.

Formats:
entry
35mm, 16mm,
PO
Screen,
Box
1081,
Richard
PO Box
REVELATION INDEPENDENT FILM FESTIVAL,
Tel:
17, Australia. Deadline: Dec. 1. Fest is a
&
event
&
Feb. 7-
non-competa-
184 NY,
NY
Via HD-SDI/Firewire
Time Code Burn-in
10012-0004
212.219.0951
Fax: 212.219.0563
Cloning
Down Conversion
Digital Cameras
DP & Crew Available
High Def /
;
represents Austrailia's major alternative
seeks to bring to Oz the best
film fest. Fest

spirit
HD/ Digital
Info.
61-2-9331 2988;
fax:
richard@queer screen. com. au; queerscreen.com.au
tive
&
Australia
Darlinghurst,
NSW1300; 61-2-9332 4938;
Queer
King,
SP/S-VHS
Hi-8/Video 8
SP Preview on VHS. No
QueerDoc,
Contact:
fee.
Beta
Cut Pro
After Effects
discount rates.
$120/hr.
FILM FESTIVAL),
Uncompressed Video
Media 100
011 351 222 076 050;
one productions
No entry
or PAL).
Mario Dorminsky,
Oporto,
^8!r am
all in
Effects,
Best Short Film, Special Award of the Jury. Formats:
fee.
200 features. Press coverage
nearly
extensive from major newspapers, radio stations
Actor/Actress,
of
&
Competition for Films of the World, info section

section. Fest runs
Week, competition
petition for fantasy films; Directors'
for
com-
Section,
in
maverick
individual filmic style. Founded: 1998. Cats:
www.standby.org
Doc
212.868.0028
only for 2001, feature, doc, short, animation, experimen-
music video,
tal,
35mm, 16mm,
Formats:
student.
Betacam SR VHS, Beta SR Preview on VHS. Entry
^Magnolia
fee:
$17. Contact: RIFF, Richard Sowada, Fest Din, PO Box
9336
135, Sth Fremantle, Australia 6162; Oil 61 8
2482;
61
fax:
www.omen.net.au/~dakota/riff.htm
SYDNEY MARDI GRAS FILM FESTIVAL,

Australia. Deadline:
Gay & Lesbian
Dec. Festival
Feb. 13-24,
Australia's largest
Festival
PKlFilm 2002
MS
They also presents queerDOC
film event.
(Queer Screen's
is
& Gay Doc
Lesbian
Film
Festival).
!,& 9,
Founded: 1993. Cats: feature, doc, animation, experimental,
short.
Short. Formats:
VHS. No entry
Screen,
35mm, 16mm,
PO Box 1081,
Beta SR DVD. Preview on
SMGFF, Richard
fee. Contact:
Darlinghurst, Australia
Oil 61-2-9332 4938;
Queer
King,
NSW1300;
61-2-9331 2988; richard@
fax:
queerscreen.com.au; www.queerscreen.com.au
TOKYO VIDEO FESTIVAL,

Fest for professional
&
Nov., Japan. Deadline: Nov.15.
non-prof video prods, founded
1978, accepts compositions on any theme or
purpose
style;
Max
able.
to
w/ duration
promote interest
in
in
in
any
video culture.
must not exceed 20 min. compo;
of only
few mins
or
seconds accept-
Cats: short. Awards: Video Grand Prize ($4,000,
10-day round
tion);
is
length of entries
sitions
Works
equivalent
Starkville,
Awards: Audience Awards, Best feature, Doc,
trip to
Japan
for 2 people, trophy
of Excellence (5
in
awards
of
&
cita-
$2,000 & $2,000
JVC video equipment, trophy &
citation).
Formats: 1/2", DV, S-VHS. Preview on VHS. No entry fee.

Contact: TVF JVC
Company
of
America, 1700 Valley Rd.,
Wayne, NJ 07470; (800) 526-5308; www.jvcvictor.co.jp/

english/tvf/index-e.html

Phone:(662)494-5836
Fax:(662)494-9900 email: [email protected]
A Proud
Rhode

November 2001
THE INDEPENDENT
51
^)
iJSJ'J.*-!.^
members are
listed
free of charge as space permits. the independent
reserves the right to edit for length and makes
[email protected];
and guidelines
form
Entry
at:
www.cinemareno.org
words &
how long
indicate
panies found
&
receive
[email protected].
to:
Entry fee: $50. Deadline: monthly (postmarked by 15th

of
&
600, Beverly
Hills,
rent as possible, but double-check before sub475-0193;
fax:
Camden
CA 90210; (310) 288-1882;
[email protected];
mitting tapes or applications.
COMMUNICATOR AWARDS,
Competitions
Deadline: Nov. 16. Awards
program, founded by video professionals, honors excel-
8th annual short screenplay competition

lence
16mm
of
in
each month). Contact: HSC, 1605 Cahuenga
Blvd.,
software. Entry fee; $55.
to be as curDr., Ste.
year subscription to Scr(i)pt magazine.
script analysis,
Deadline: monthly. Contact: CSDA, 433 North
we try
notes from script consultant. Awards: 1st place $2,000;
2nd place $1,000; 3rd place $500. Plus
major studios seeking new
all
rewrite
screenplays.
film courses, conferences
send
which includes
year,
to
info will be current. deadline: 1st of the month,
address & phone) must accompany all notices,
com-
to production
the Hollywood Creative Directory for one
in
entertainment industry.
One screenplay accepted monthly
two months prior to cover date (e.g., nov. 1 for

jan/feb issue). complete contact info (name,
& marketed
published on the Internet

To
no guarantees about repetitions of a given notice,

limit submissions to 60
pgs. Awards: Winning
& producers. Winning synopsis
script sent to agents
& 130
be unoptioned, btwn 90
commercials, corporate videos, & television
CA 90028; (800)-SCRIPTS; hwd
213, Hollywood,
Ste.
[email protected]; www.moviewriting.com
MONTEREY
COUNTY
COMMISION
FILM
2002
SCREENWRITING COMPETITION awards $2,002 top

prize & valuable H'wood contacts. Incl. free tuition to
the American Screenwriters Association's "Selling to
Hollywood Screenwriters Conference." Top 3 winners
produced
film to be
productions.
in
summer 2002. Any
tation
(if
you have
subject or genre, original or adap-
up
rights);
to
Founded
1995.
duction.
No entry fee
30 min. low-budget proCats:
or application; scripts not returned.
Over 200 catDeadline: Dec.
Send
1.
screenplay
full
&
pg. synopsis.
under
gories
Communi-
Contact: Screenplay Competition, School of
headings
Grand Valley State University, Allendale, Ml
cations,
such as med-
You Can Bet On
ical, religious,
AMERICAN GEM SHORT SCRIPT CONTEST promotes
broadcast
news,
and supports new talent and continues
cable
music
opportunities
ating
FilmMakers.com
FilmMakers.com
tape copy
for
to
and 5 percent
artists
winning
the
script.
Ten dollars from every entree
will
TV,
videos,
doc,
short,
animation,
script,
ture,
music video,
dent,
of the gross (within three years after
com-
family, children, TV,
Prize:
any
$50 and Syd
2nd
Final Draft software;
$100 and
$50 and Syd
Final
Field Video; 5th
Field Video. Deadline: Dec. 1. Visit
www.filmmakers.com
for
contest particulars. Contact:
2001
Magazine,
Screenplay Competition,
Certifi-
awarded.
cates
Formats: 3/4", 1/2",
S-VHS, Beta, Beta
SR
Box 3489, Chatsworth, CA, 91313.
style or genre,
installation.
Awards:
It
mecca and "The
to out-of-towners as a gambling
Biggest Little City in the World," Reno is a much different

place for locals. And now the city's vibrant arts community is
getting a new outlet for work. Produced by a new non-profit
organization (also called Cinemareno) with the purpose of
promoting the art of motion pictures in northern Nevada,
Cinemareno will bring new independent works to audiences
year-round. Founder Stephen Davis hopes the monthly
screening of bodi shorts and features on film and video can
satisfy the locals "healthy appetite for independent films."
With a focus on new and undistributed works Davis is betting
youth media, stu-
$500
and
Known
fea-
etc.;
Prize:
Final Draft software; 3rd Prize:
FilmMakers
film.
in
provide the winner with the video
Draft software; 4th Prize:

Prize:
pledge of cre-
The FilmMakers Film Fund. 1st
pletion of the film)
$150 and
produce
will
will
of the film.
be donated
new
all
its
DV,
DVD. Preview on VHS. Entry fee: $37.50. Contact:

also receive free tuition and personal one-to-one con-
Festival,
AMERICAN SCREENWRITERS ASSOCIATION
is
2214 Michigan
St. Ste. E, Arlington,
TX 76013;
sponsoring
sultations with industry professionals at Screenwriting
459-4011;
(817)
fax:
2nd annual Screenwnting from the Soul Script Competition,
Day
www.communicator-awards.com
dedicated to finding, "the most heartwarming, soulful story
of the year."
to
2002
script
Grand
Prize:
$1,500 cash plus
free registration
Selling to Hollywod Screenwriters Conference, plus
consultation
&
w/ Richard
dinner
Screenwritng Professor
&
author
of,
Krevolin,
USC
Screenwritingfrom the
Soul. Entry fees:
$40 (ASA menbers); $50 (non-members).
Deadline:
Oct.
31.
Cincinnati,
OH 45212;
Contact:
ASA SFTS. Box 12860,
(866) 265-9091;
asa@asascreen-
accepts
all
2002.
April 20,
be given
will
in
New $1,000 "On
recognition of an out-
HOLLYWOOD SCREENPLAY CONSULTANTS SCREEN-
standing
Monterey County settings. Deadline: Jan 31, 2002.
lion),
&
includes
at
50%
least
2000
Screenplays must not have been optioned or sold at

the time of submission. Full length film or TV (90-130
Inc. to
produce
Cine-Vision
character or story driven, feature film screenplays.
Should be
screenplay that
Seeking low budget (less than $1.5 mil-
Hagan Productions,
to distribute.
live action,
or 2 locations ideal,
10 or less
characters, 90-120 pages. Any genre considered. Cats:
series (currently
APPLE AWARDS COMPETITION
Monterey on
feature, short, animation, TV movie,
writers.com; www.asascreenwriters.com
in
Location Award,"
TV mini-series, TV
production or not). Each entry must
in
pgs). Entry fees:
$45 postmarked by Nov. 30, 2001,
$55 afterwards. Discounts

scripts.
Submit early
screenplays
for
submission of 2 or more
contest limited to
Contact:
received.
(831)
500
first
646-0910;
www.filmmonterey.org.
types of
not have been sold, optioned,
turnaround,
in
prepro-
in
MONTEREY COUNTY FILM COMMISSION SCREEN-
educational formats, from documentaries to instructionduction or have been produced at time of submitted
al
programs & CD-ROMs,
for largest educational
media
WRITING CONTEST: Open
to writers
who have
not yet
deadline. Prizes: 1st, $2,000; 2nd, $1,000; 3rd, $500; a
competition
in U.S.,
sponsored by Natl Education Media
WGA
prominent agent, a
Network. Deadline: Nov.
1;
late
info or entry form, call (510)
www.nemn.org
or email
for representation to production
will
NV. Deadline: Feb
ed,
contest
major studios.
Entry
A year-round
Saticoy
St.,
1,
Sept.
&
genres & locations accept-
to
first
500
entries.
31
(early); Jan.
First
prize:
(final).
Entry
$75 per screenplay.
fee:
fees:
1.
limited
$1,500. Deadlines: Dec. 29

the
[email protected]
All
consider
companies &
465-6885, check out

Deadlines: Mar.
CINEMARENO, March,
signatory agency,
postmark Nov. 30. For

winners
more
sold scripts to Hollywood.
Dec.
1.
Contact:17216
#303, Van Nuys, CA. 91406,
(818) 994-
$40
Monterey,
(early);
$50
(final).
Contact:
MCFC, Box 111,
CA 93942; (831) 646-0910; mryfilm@
aol.com; www.filmmonterey.com
festival of
independent films & videos, showcasing nar-
rative feature films
and shorts with high
artistic
and en-
5977; www.swiftsite.com/ cine-vision2000
HOLLYWOOD SCRIPTWRITING CONTEST:
PAGETURNERS SCREENPLAY CONTEST.
on new, undistributed works. Formats:
16mm, 35mm,
new valuable
outlet for recognizing
& promoting
Beta-SR
DV.
52
quality
Box
5372,
Reno,
THE INDEPENDENT
NV
89531;
(features),
(no
TV dramas
or
sitcoms)
in
$25
(shorts).
English;
cine
November 2001
$375 & agency recommendations.
Entry fee:
$75
Registered

feature films
CinemaReno,
entrants
receive professional critique. Deadline: Feb. 15. Winner
gets
scripts of undiscovered writers worldwide.
All
provide
To
tertainment values. Special quarterly screenings focus
motion picture standard master scene format req. Must
[email protected]
Contact:
(323)
252-4243;

COMPETITION. Grand
#200,
$25,000. Deadlines:
prize
7775 Sunset
Contact:
$50).
entry,
(late
CA
Hollywood,
90046;
April
16
Neil
PMB
Blvd.
Ruddy
stunts
654-5809;
(323)
[email protected]; www.scriptapalooza.com
SCRIPTAPALOOZA
Accepting
COMPETITION
WRITING
TV
&
sitcoms
pilots,
7775 Sunset
Nov. 15. Entry fee: $35;
deadline:
hr episodics.
PMB#200
Blvd.
Hollywood, CA, 90046. Prizes are $500 for each catego-
Conferences
coordination, fire gags,

stunt driving, falls, fight
choreography, air ratchets
car hits, stunt rigging,
equipment rentals
$1,500; www.scriptapaloozaTV.com
Total prizes are
ry.
Workshops
reel alternative film salon and reel writers
WORKSHOP
&
Native
American filmmakers
(directors, screenwriters, producers,
and DPs)
encouraged
of Color are
Submit your tape or
or script.
&
bio
w/
order) to:
IGH
139 Brooklyn, NY
Ste.
St.,
11217; (718) 670-3616; [email protected]
WORLD NEWSREEL
THIRD
support
to
institutions
programs w/in film/video
program
&
member
&
5-month
post-prod'n.
film/video exp
recommended
Combine work
produce, write,
2 projects. Workshop begins April.
edit
DIRECTOR
traditional train-
focuses on preprod'n, produ'n
&
Ave.,
New
10 FL,
korwwvYvTMh
but not req. Workshop costs
with
fiction,
NY 10018; (212) 947-
York,
in
Prior
$500. Deadline: Jan. 12. Contact: Third World Newsreel,
545 8th
\jO\tuT\ma
James Magnuson
& access
industry. Intensive
Primary objective to have each

direct
Ojy\k in
"-fine
&
training
people of color w/ limited resourses
mainstream educational
ing
^Wfer rf
DUCTION WORKSHOP: Workshop emphasizes

of
VHS tape
their
a synopsis, your
money
a $10 entry fee (check or
Multimedia, LLC 655 Fulton
submit
to
script
212-254-7944
& screen-
respectively accept completed film
play submissions year round. Black, Latino, Asian
interdisciplinary
9277; fax 594-6417; [email protected]; www.twn.org
MFA degree
all
program.
students.
Films Tapes Wanted

BIJOU MATINEE
is
showcase
independent shorts.
for
Program appears weekly on Channel 35 leased access
Manhattan Cable South (below 86th
St.)
every Sat at
2:30 PM. Entries should be 25 min. or
less.
VHS, 3/4", or
DV Send
copies
to:
Bijou Matinee,
Box 649,
New
UT Michener
702
E.
Dean Keeton
St.
Center for Writers

Austin,
TX 78705
York, NY,
10159; (212) 505-3649; www.BijouMatinee.com
512/471.1601
CHICAGO COMMUNITY CINEMA: On
each month short
films, trailers,
cased
to
an audience
begin
w/
a cocktail hour to
Tuesday
www.utexas.edu/academic/mcw
of
genres are show-
all
of industry professionals.
showcase
Evenings
local orgs
&
allow
atmosphere before the screen-
for a strong networking

ings.
first
music videos, commer-
student films, and features, of
cials,
the
Submission form available at website. Entry
fee:
$25. Deadline: Ongoing. Contact: Chicago Community
Cinema, 401 W. Ontario,

(312) 863-3451;
INDUSTRIAL
Ste.
208, Chicago,
IL
show (now
5th year), looking for exp., narrative, humorous,

tion,
underground, etc works for
& subversive
sure
in
the
60610;
NEW DAY FILMS
www.ChicagoCommunityCinema.com
fall
accept:
We
DVC
VHS, 3/4" SR 3/4", Hi-8. Contact:
anima-
material encouraged.
NYC area &
in
guarantee expo-
Pro, mini-DV,
Edmund
SVHS,
Varuolo, c/o
2droogies prods, Box 020206, Staten Island, NY 10302;
[email protected]; www.2droogies.com
MAKOR
continues
its
the premiere distri-
media.
Owned and
New Day
run by
its
members,
Films has successfully distri-
buted documentary
film
and video
Seeking energetic
independent makers
for
thirty years.
of social
415.383.8999
or 617.338.4969
Call
issue
documentaries for
new
membership.
on-going Reel Jews Film Series that
showcases the work
Now
is
bution cooperative for social issue
of
emerging Jewish filmmakers.
accepting shorts, features, docs and/or works-in-
November AVI
THE INDEPENDENT
53
G^^^)
progress, regardless of theme, for screening considera-
and network
tion
Ken Sherman, (212)
building. Contact:
SUB ROSA STUDIOS

&
video
looking for a variety of different
is
gramming & VHS/DVD/TV worldwide
Syracuse area TV pro-
film productions for ongoing
release. Seeking shorts
or feature length non-fiction productions in
MICROCINEMA, INC./BLACKCHAIR PRODS, accepts
areas of the
all
media submissions
digital
of
One
Voices,
City:
The IPA Guide to the Ethnic Press of New York City ($17
plus $3.05 S&H). For order send check to: IPA,
Mission
#201, San
St.,
2729
CA 94110;
Francisco,
(415)
short
special interest or instructional fields, cutting edge docs,
&
video, film
Many
a world of contacts. Also avail:
634-4401; www.indypress.org
15 min. or less
&
plus children
family programming. Also seeking feature
on an ongoing basis for the monthly screening program

length
Independent Exposure. Artists qualify
fiction,
genres,
all
especially
and
horror
sci-fi.
Supernatural themed products wanted, both fiction
&
non
&
distrib deal, incl. additional license fees for intl offline
ing for
Works selected may continue on
&
to nat'l
&
ry
454-5608; [email protected]; www.b-movie.com
venues
int'l
VHS (NTSC
w/ name,
preferred) labeled
# and any support materials

returned.
Contact:
#313-A,
Seattle,
or S-
length,
phone
title,
photos. Submissions not
incl.
Microcinema,
WA
Submit VHS
WA
98121,
(206)

year for
quarterly series of screenings
its
The group
322-0282;
film "as a
Los Angeles.
in
&
organizations
list-
directo-
in
Ave.,
2318 2nd
Inc.,
actors, technicians
all
Contact: Ron Bonk, Sub Rosa Studios; (315)
(realistic).
etc.
co-op offers free
artists'
supernatural/horror fiction shot doc style
fiction, especially
online sales. Looking for short narrative, dramatic, erotic,
animation,
RESOURCES FUNDS
for a non-exclusive
Send
use of bulletin board.
letter), free
Jim Lawter, 37 Greenwich Ave, #1-6,
s.a.s.e. to:
a non-profit org created to promote short
is
means
provide grants to
www.shortfilmgroup.org.
to itself."
support educational series assured of airing nat'lly by
OCULARIS
in
videos to aggressively market to the educational market.
incl.
Contact us with finished projects or rough cuts. The
outreach
screening.
OPEN ZONE,
to
open
a quarterly
works and medium length
Nat'l/international
works (15-45 minutes)

group shows.
for
Local film/video makers can submit
works under 15 min.
be considered for curated
will
For submission guidelines
&
other info,
Video Project, 45 Lusk
Alley,
media orgs
& feature
is
broadcast
an Amsterdam-based org specializing
60 min. TV
of a
art piece every night.
in
Works
vary from computer-generated abstract work to ultra
hard-core
reality TV.
Founded
broadcast more than 1100 different
around the world &
the program. Artists
Contact:
1 hr.
made
tapes
is
fit
by
into
be paid for broadcasted work.
will
Organization also has programs

Berlin.
PARK4DTV has
1991,
in
Rotterdam,
in
New
&
PBS'
INDEPENDENT LENS. PBS Programming
seeks submissions
for the
2002
fall
season
of
Dept.
&
video submissions of short
&
other works attentive to
fax:
welcome.
Sherae Rimpsey,
NY 10018; (212) 947-9277;
WIGGED.NET.
a digital magazine,
made
well as animation
Forfuther info on submissions
call
NYC TV show
local
is
looking for short films
min. to 17 min.
&
Show
is
& completed programs
ers
aimed
from
at public
shorts
&
producer guidlines
before
submitting.
Jones,
Senior
$28,000
Contact:
Independent Film, PBS Headquarters, 1320 Braddock

Place, Alexandria,
test Awards
incl. in
Deadline:
incl.
Zoie Star
Award
quarterly
avail, to
is
of
total of
NYC Asian American
$100,000
or less
arts
which have
status
Deadline:
late
or
Charities
Contact:
fall.
Bureau
Registration.
NaRhee Ahn, Program
Director (212)
4th year award-
$500-$2,000 postprod'n completion grant
Feb.
2.
Contact:
Zoie
Films,
539
GA 30067; (404) 816-0602;
Marietta.
Dr.,
& genre on super
8,
16mm
or
for
any
35mm. Emphasis
for
& videos
fit
that innovate
CUFF's mission
in
Contact CUFF, 3109,
5.
to
promote films

N.

Publications
works
Digital
Harvest-
to learn
to write
&
creative community: the art of cultural develis
new
publication
iL
560-6777; www.zoiefilms.com/filmfestxprt.htm
OPMENT
is
awards
in
501(c)(3)
VA 22314; (703) 739-5150; fax (703)
739-5295; [email protected]; www.pbs.org/producers/
SHIFTING SANDS CINEMA
artslink@ cecip.org, www.cecip.org.
w/ annual budgets
length
Development &
Program
Dir.,
CEC
NY 10001, (212)
docs, animation, experimental, children's pro-
Salem Woods
fax:
Cheryl
15. Contact: ArtsLink,
Street, NY,
foreign films, fiction films, film
Best Picture, People's Choice Award Cash Prizes for top

winners.
site
ben-
both countries. Appl.
in
by indie produc-
TV audiences. Consult PBS Web
x.22,
Newly
to
watched by
thousands. Contact: [email protected]
New domestic &
makers.
grams, etc
from programs
West 31
Partners, 12
643-1985
ing
PUBLIC BROADCASTING SERVICE accepts proposals
&
Europe
Eastern
must be postmarked by Jan
orgs
50 films during year & showcases more than 60 film-
Dept. at (703) 739-5010; www.pbs.org/producers.
&
Central
in
&
27
their counterparts in
Chase Manhattan SMARTS Regrants Program. A
WOLFTOOB,
nat'l
PBS Programming
work w/
ASIAN AMERICAN ARTS ALLIANCE administers the
ZOIE FILMS INT'L FILM FESTIVAL presents approx. 30-
the
Deadline: ongoing. Contact Seth Thompson, (330) 375-
lengths. Fiction,
&
32202; arthurvining@
works are welcome.
genres
Jonathan T
Dr.
www.jvm.com/davis/
participants or audiences
&
broadcast venue for their works, Independent Lens

all
Contact
site.
Int'l
web. Work should be under 5 min.
for the
millions, or at least
nonfiction docs or live short action
ARTSLINK
efit
seeking innovative &
is
new media works as
experimental
Web
on
Ave.. Ste. 130, Jacksonville, FL
bellsouth.net;
York,
prod'n
Howe, Arthur Vining Davis Foundation, 111 Riverside
countries
New
Recent
supported.
rarely
is
gender. Projects addressing
director's bio to: Third World Newsreel,
Ave.,
enhance educational
to
grants have ranged from $100,000 to $500,000. Propo-
&
music videos from
accepts completed works of
& preproduction
efforts,
& communities. Funding for research
nonprofit arts orgs to
545 Eighth
Consid-
of particular interest.
Indepen-
dent Lens. Deadline: Dec. 21. Offering filmmakers a
schools
in
Formats: 1/2" VHS. Send submissions, synopsis of the film
videos
&
length docs, narratives
other issues of political
York
1001 GH
PARK4DTV, Box 11344,
one
seeks film
in U.S.,
computer online
sal guidelines avail,
WORLD NEWSREEL,
THIRD
intersections of race, class
PARK4DTV
San Francisco, CA, 94107.
contact: [email protected]; www.ocularis.net
&
PBS. Children's series are
eration also will be given to innovative uses of public TV,
program-
works are considered
All
special projects.
artist
educational distributor
a leading
seeks environment and educational films and
of videos,
our weekly series, travelling programs, and other
exhibit their work.
ming
THE VIDEO PROJECT,
provides a forum for film and video makers to
MP3
commissioned by the
screening
info
Rockefeller Foundation. The report traces the history, theo-
series presenting experimental video, film, animation
&
retical
digital
underpinnings, values
& methods
of
community
cul-
media. Short works (under 20 min.) on VHS

tural
(NTSC) are sought.
Incl.
synopsis of work, artist's bio
development
mendations
contract
practice.
&
to
strengthen
Rockefeller Foundation, Job
&
the
offers
field.
recom-
Contact
CORPORATION FOR PUBLIC BROADCASTING

ative ideas for
Deadline ongoing. Tapes not returned.
info.
become
Submissions
Archives
The report also
& support
will
part
of
the
Shifting
Sands
#3186,
"Creative Community."
Box 545, Mahwah, NJ 07430; www.rockfound.org
diversity
is
Sands
"I,
allocated up to
dent audience!
IPA's
Annotations: A
Guide
To
am
America"
The Diversity Fund
Initiative.
Rock,
PA
16057;
(724)
738-2714;
CPB has
Independent Press gives you the name & number

editor you need. For just
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THE INDEPENDENT
November 2001
A Guide
To
also
New
with the objective of harnessing
by supporting the creation of mission-dri-
of the
new media
content; and providing opportuni-
S&H) Annoties for diverse
tations:
million this year to create the
New Media Fund
new media
ven, diverse
[email protected]
$2
The
the
54
too,
Find an indepenVoices,
Cinema, c/o Jon Shumway, Art Dept, Slippery Rock

Slippery
part of the
seeks cre-
projects that explore America's growing
also be considered for curated exhibi-
tions &other special projects. Contact: Shifting
Univ.,
&
TV
The Independent Press can open up
content creators working
in
public broad-
new media demand.
casting to develop the skills that the
Project appl. will be accepted throughout the year until the

avail,
fund
is
call
may
be
SON VIDA PICTURES
ter-
41
minated at any time by CPB. Contact: Diversity Fund or NV,
NM,
Program Operations, CPB, 401 9th
c/o
NW,
St.,
UNION SQUARE WEST

NEW YORK CITY
DC 20004; [email protected]; lbarbash@
Washington,
[email protected]; www.cpb.org/tv/diversity/rfp;
cpb.org;
www.cpb.org/tv/funding
CULTURAL FUNDING: FEDERAL OPPORTUNITIES:

Designed by the NEA to help nonprofit arts orgs identisources of federal support for cultural pro-
fy potential
grams,
this
resource
online
agencies w/ history
listings
incl.
federal
of
funding art-related
of
descriptions of projects, links, reference tools
&
navigating specific funding sources. Listings
incl.
100
federal
&
programs
170
212 242-9585
projects,
tips on
over
examples.
project
FUNDING AVAILABLE:
financially
ticipate
production
in
films.
Send informal
script.
Filmmakers
contacted via
be
Apt.
#1, Washington,
Final
mail,
snail
1923 35th PL, N.W.
email, or telephone. Contact: Indies,
XL-1
Cut Pro
Sony PD150/100
Matrox
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issue
one
in
&
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int'l
&
(Human & Community Development;

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John
&
D.
Dearborn
Send
Catherine
St., Ste.
prelim. 2- to
T.
3-pg
IL
Pinnacle
&
Global Security
Cobra Cranes
Sony VX2000
Bogen tripods
'HS decks
Contact:
letter.
Green screen
jmbustion
focusing on an
1100, Chicago,
Jennheiser
films
major programs
Foundation's 2
the
of
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T.
kistrator 9.0
S.
60603; (312) 726-
rmera
of Public
ENDOWMENT FOR THE HUMANITIES'
use broadcast
&
related
media projects that
to
companion
Division
media
digital
MPEG-2
to pre-
Comteks
sent high-quality programs that explore the humanities to
audiences. Grants are offered for the planning,
public
scripting
&
addressing humanities themes.

tion
&
digital
NEH
Neumann
&
Programs, Division
production
of Public
grants).
Programs,
Contact:
Room
1100 Pennsylvania Avenue, NW, Washington,
Media
NYS COUNCIL ON THE ARTS
radio,
availability
Individual Artists
Artist
nonprofit org. Deadline:
20506;
:.â."t
<^> r~i
MYC
Street
@hwc.tv
Program
& computer-based
art.
must also be sponsored by
March
NYSCA, 915 Broadway, 8th
1.
Contact: Don Palmer:
New
fl.,
York,
Independent Television Service
(ITVS) considers proposals for innovative
NY 10010;
(212) 387-7063; [email protected]; www.nysca.org
OPEN CALL 2001. The
cameras
production funds for video,
of
audio, installation work
Max award $25,000.
still
Worlds
:o
r~r~i _i r~i
118 West 22nd
212 243-8800
426, NEH,
D.C.
announces
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\-\gUo
public. Deadlines: Nov. 1 (planning grants), Feb. 1 (plan-
scripting
Nagras
DVCAM
cameras
Lipstick
Projects
projects.
should focus on humanities programming for the general
ning,
Pagers
Discreet edit*
media projects
also offers consulta-
new
grants to help conceive of
Canon GL-1
Red
Boris
NATIONAL
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20007.
D.C.
& CATHERINE
Beta decks
Nextels
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JOHN
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emphasis on
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will
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of
programs
of

with
85 years
is
distributor,
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standard broadcast lengths for public TV twice a year for
Open
Call.
ITVS seeks provocative, compelling stories
Ifyour new work
is
call.
from diverse points of view & diverse communities. No

finished works. Projects
doc, experimental) or
in
in
any genre (animation, drama,
any stage
considered. Programs should

ditional
molds
tell
of
will
political,
be
a great story, break tra-
of exploring cultural,
development
510-643-2788
[email protected]
social or
risks,
or give voice to
November 2001
THE INDEPENDENT
55
^Jl^S'S^J^^
& guidlmes
those not usually heard. Download appl.
web

Relax and
call
at
356-8383
Deadline: Feb. 15. Contact: (415)
site.
x232; [email protected]; www.itvs.org
Novaworks ComDuter Systems.

American
Asian
Nat'l
(NAATA)
Funding
w/
for applicants
public
from
avail,
is
Telecommunications
Assoc.
TV projects
final
in
postprod'n phase. Full-length rough cut must be submit-
you and your budget. We have

follow-up support. Call us to come by, have a cup of coffee and discuss DV, or attend one of our
Free Final Cut Pro* Seminars. Go to www.novawork5.com to register online or call Vicki Schwaid
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Final Cut Pro' 2.0, Mac* OS X and FileMaker Pro* Training Classes available now!
We
Awards average $20,000 & NAATA funds must be
ted.
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on a
basis.
rolling
Review process takes approx. 1-3
months. Contact: NAATA Media Fund, 346 Ninth

Fl.,
San Francisco, CA 94103; (415) 863-0814;
St.,
2nd
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fax:
^^
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StreefNYC, NY* 10011 www.novaworks.com
r jaffivgHsj
525 West 23rd
7428; [email protected]; www.naatanet.org

program
first
Emerson College seeks candidates for tenure-track faculty positions in the Department of
and Media Arts starting September 2002. There are two positions available at this time.
tal,
access
offers
new productions
serious
sidered. Provides
ASSISTANT PROFESSOR, FILM PRODUCTION/DIRECTING
Film Grant, OC,
of Visual and Media Arts is seeking to fulfill a tenure-track position in Film

Production/Directing. Successful candidates must be able to teach 16mm synchronous sound
film production from the beginning to advanced levels and have expertise in one or more of
the following: cinematography and lighting, film sound, animation video production, digital
post production, directing, multi-media production or new technologies.
Candidates must demonstrate an ability to articulate creative work in the context of media studand contribute to the overall interdisciplinary focus of the department. The ability to teach
cross-media introductory production course is required. Applicants must also have college-level
teaching experience and an established record of creative work. A Master of Fine Arts or Ph.D.
or equivalent professional experience required.
ies
in
16mm camera
system
666
Plummer
S.
basis. Contact:
WA
Seattle,
St.,
98134;
marty@oppenheimer-
(206) 467-8666; fax: 467-9165;
camera.com; www.oppenheimercamera.com
PANAVISION'S
16mm camera
incl.
Contact:
Kelly
Simpson,
6219 DeSoto
Panavision,
w/ 550 stamp.
student films. Send s.a.s.e.
any genre,
New Filmmaker
Ave.,
Woodland
provides
Hills,
Program,
CA 91367.
ASSISTANT PROFESSOR, SCREENWRITING

The Department of Visual and Media Arts is seeking to fill a tenure-track position
Successful candidates should be able to teach courses in either:
in

screenwriting.
open
OR
of Portland,
Camp 2001
submissions for Avid Film
call for
and
five act structure,
on the basic or advanced
level (three act structure,
Digital
announcing an
is

Feature-length narrative screenplay writing
for
dramatic, doc, experimen-
or narrative form. Purely commercial projects not con-
Visual
The Department
to pro
pro-
to indie fea-
ture directors looking to complete their films, while offer-
alternative structure)
ing Avid-authorized training to career editors. Beginning
Writing for the short film (narrative, documentary, experimental)
this year, films will also receive free Pro Tools audio fin-
Concept Development
(TV-Movie,
Television writing
Comedy/Drama
be expected
to supervise directed study projects
in
screenwriting.
Qualifications include a Master of Fine Arts or equivalent professional experience, a record of professional
accomplishment
in
writing for the screen,
and
demonstrated
ability to
teach at a college
level.
Send resume, teaching philosophy and contact information for references to: Chair, Search
Committee, Department of Visual and Media Arts, Emerson College, 120 Boylston
Street, Boston, MA, 02116. Review of applications begins September 15, 2001 and will continue until the positions are filled. Emerson College is an equal opportunity, affirmative action
employer and is strongly committed to increasing the diversity of its faculty. Women and
minorities are encouraged to apply.
%i
N^
Submissions
Online editing.
ed.
be feature-length projects w/ shooting complet-
to
Emerson College
BRINGING INNOVATION TO COMMUNICATION AND THE ARTS
accepted on a
Projects
Deborah Cravey.
SW
Westgate
Dr.,
Ste.
Contact:
basis.
rolling
Digital
OR 97221;
Ill, Portland,
(503)
297-2324; [email protected]; www.filmcamp.com
SOROS DOCUMENTARY FUND

videos on current
freedom
&
supports
significant issues
of expression, social justice
categories:
project
Symphony
Avid
Daytime TV)
need
Instructor will also
&
ishing
Series,
$15,000),
projects
$25,000,
but
initial
in
max.
&
prod'n
or
$50,000).
doc films
human
&
rights,
civil liberties.
seed funds
up
(grants
2
to
post (average grant

Highly
Contact: Soros Doc Fund, Open Society

St., NY,
int'l
in
competitive.
Inst.,
400 W. 59th
NY 10019; (212) 548-0657; www.soros.org/sdf
considers projects
by 1st or 2nd time feature filmmakers looking to create
THE EDIT CENTER
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Become
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festival
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Appl. forms avail, on Website:
Contact: TW. 601
Narratives, docs, animation
St.,
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fl.,
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York.
NY 10001.
eligible.
26th
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THE INDEPENDENT
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seminars
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& more. Reservations must
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be
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styles from orchestral to rock to jazz to
years
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tor
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term. Call High Voltage Prods at (212) 295-7878.
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successful marketing expertise to work for you. Kate

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FOR AN
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est
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quotes &
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required) for distribution consideration
(212) 807-1400
www.aquariusproductions.com.
MEMBERS
daytime phone;
01701.
fl,
preview
MA
to:
888-440-2963,
at
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0-240 CHARACTERS
their films receive the atten-
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deserve!
they
tion
caregiving, by independent pro-
Our producers and
ducers.
CONTACT: FAX: (212) 463-8519; [email protected].
&
mental health
ities,
distributor and producer,
seeks new programs on healthcare, end-of-life, disabil-
Dog Run,
in
features, docs,
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TV &
Sony
DVCAM.
Working Space /Working Light. (212)
COMPOSER:
techno
Absolut.
you
Perfect
name
Bach,
of
music
it!
for
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Music,
your project. Orchestral to

incl.
NFL. PBS. Sundance.
Chiappetta (718) 782-4535: [email protected]
N.hc.uIvi
AVI
THE INDEPENDENT
57
AVIDS TOGO

ages
avail. Call
Charles for
reel:
my
lighting
specialty.
16mm & 35mm
Can
pack-
6687;
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delivers.
and less
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traditional
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for dance,
11 yrs. of
Some
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Lectrosonic radio mic. available and happy
to
full
35BL2
with Arri 16 and
women and
work
(the
Women/people
rates:
&
help
Mac
& working filmmaker
w/
in
University of
Film/Video/Digital
Cinema & Comparative
of
the
in
Literature offers
teaching or fellowship support to qualified applicants to
3-year MFA. For more information on how
www.uiowa.edu/~ccl
to apply,
335-0330.
or call (319)

AfterEffects,
Improve Your Video
To
Media
Legal,
in
in
to apply.
FCR
in
encouraged
Iowa located
its
for training
of color are
Production at the
visit:
will
sen-
DV CONSULTANT: Need
primary responsibility
FELLOWSHIPS AND TEACHING ASSISTANTSHIPS
sultant avail,
film;
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to:
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for
AVAILABLE: The MFA program
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sitivity to
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(212)
at
two features, be NYC-based and have fundraising expe-
Send resume
with superb DAT audio) for hire for documentary narra-
for reel
let's
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abortion.
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Matthew: (617) 244-6730;
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tive,
then
listen,
be fundraising. Must have producer credit on at least
travel.
DP WITH SONY PD 150
Millrose
PRODUCER WANTED
EXECUTIVE
rience.
Willing to
and
look
in
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quickly.
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more, www.millrose-
Opportunities Gigs
Black
time expe-
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(212) 352-
Peter
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mance. Alan Roth (718) 567-8052; (917) 548-4512;
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rience scoring features and shorts for Ben
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in
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frequent
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to
E-Commerce;
Production;
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&
&
video community
Management; also

Robert
L.
Seigel, Esq., (212)
333-7000.
home
or office
ment;
16mm & 35mm.
Short films
with crew
&
&
equip-
St.,
New
York,
NY 10013;
COLLEGE
ITHACA
(212) 779-1441.
ROY
COMMUNICATIONS One

your Breakdown,
Schedule,
Budget. Specialty
is
Day out
of
Days and/or
low budget but high quality. Email:
[email protected]
for rates
and references.
projects
of
NYSCA, NEA, NEH,
media). Successful
prod'n
writing
&
& edu-
ferred.
Wanda Bershen,
or Geri
Thomas
Fast writers,
2002.
15,
in
Description:
Position
video/film or related discipline pre-
Master's degree req. Video prod'n work,
and/or
int'l
OF
video
incl.
professional experience req. Successful
education w/in a professional program
is
liberal arts
expected. Ideal
teaching
candidate should demonstrate evidence
of:
effectiveness appropriate for an undergrad
communica-
proposals to
ITVS, Soros, Rockefeller, Lila
Foundation.
Aug.
in
SCHOOL
PARK
H.
tenure-eligible position
teaching experience req. Commitment to a
Acheson
tion
Wallace
starting
Ph.D. or M.F.A.
nat'l

cational
(212) 343-8477.
fax:
features. Vincent
reasonable
program; an ongoing
& dynamic
scholarly creative
rates.
(212) 598-0224; www.reddiaper.com,-
profile
incl.
or potential for such. Teaching responsibilities
a combination of production courses
incl.
beginning
studio prod'n, field prod'n, digital non-linear post prod'n,
yrs
sound
exp.
w/timecode
PICTURES
projects.
Harvey
&
Fred
Edwards,
(518)
677-5720;
[email protected]
SCRIPT CONSULTANT: Does your
212 255 2564
review
it
for
accuracy
fast turnaround.
WMMm
58
THE INDEPENDENT
November 2001
&
prod'n
may
script
authenticity.
Jay McLean-Riggs
have a medical
MD/filmmaker
incl.
multi-media
& emerging
directing performers for
responsibilities
technologies, script-
camera & other core
courses depending on candidate's expertise.

teach at
all
Ability to
levels of the curriculum req. Ideal candidate
will
Reasonable rates &

(425)
media, lighting & set design, and
management. Addtional teaching
writing,
Experienced
scene or character?
directing, audio for
462-7393;
[email protected]
will
act as an academic advisor to students
dept, school
&
college committees.
creative/professional profile
riculum
is
&
serve on
Maintenance
also req. Interest
in
of a
cur-
development & building strong professional
relationships.
orgs a plus. Applicants should send a current vita, state-
in
any
style.
FREE Consultation. FREE CD. (718) 545-
ment
Experience w/ managing student media
of interest incl.
areas
of
teaching
&
creative spe-
cializations,
and 3 current reference
Chair,
letters to:
Prod'n Search Committee, c/o Karen Armstrong, Dept. of
TV-Radio, Roy
328 Roy
3260;
H.
Comm.,
Park School of
H.
Park
Hall,
Ithaca College,
14850; (607) 274-
Ithaca, NY,
274-7041; [email protected]. Screen-
fax:
ing of appl. begins Oct. 29, 2001. Appl. will be accepted
the position
until
Ithaca College
filled.
is
16MM SOUND MIX

&
ture
16mm/35mm
ADR,
16mm
16
to
edgecoding
Members
Employer.
Action
A-RAY PRODUCTIONS RENTS AVIDS:
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Vietnam veterans & women) are encour-
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(617) 783-9660;
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TENURE TRACK FACULTY POSITION: The

Communication at Stanford University
tenure track asst. professor w/ expertise
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in
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in
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master's program
documentary
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new media technologies &
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their creative
their interaction
to
w/ estab-
full
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B&W &
frame
begin
on
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names & addresses

Breitrose,
Comm., Stanford
of
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CA 94305. Review
110, Stanford,
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2002.
1,
until
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Chair,
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the position
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If
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NYC
solid
contact
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classes are offered
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to
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CUT YOUR INDIE ON OUR AVID:
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a curriculum vitae, a brief statement of creative &/or
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research goals, and the
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to
minorities are particularly encouraged to apply.
Stanford Univ.
COMPOSER
have a commitment
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in
lished media. Candidates should
Women &
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tion also requires
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a
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in
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Ph.D. program
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Drina (212) 561-0829.
of the
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Student rates. Call Dexter Media
experimental films.
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Women, people
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people
DIGITAL AUDIO
edi-
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PRODUCTION DIRECTOR WANTED:

sive
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Weston, CT or we'll
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tors available. Call (203)
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you (2-wk minimum). Rates from $1,250.
persons
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of
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convenient locarates.
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wexner center
for the arts

www.wexarts.org
(212)925-1500.
November 2001
THE INDEPENDENT
59
www.aivf.org
AIVF events take
all
RSVP
place at our office (see below).

events. (212)
all
The AIVF
required for
AIVF Co-Sponsors:
Meet and Greet:
TREMBLING BEFORE G-D
COWBOY BOOKING INTERNATIONAL
DISCUSSION SESSIONS
807-1400 x301 or [email protected]
office will
be closed from Nov 22-23
for the Thanksgiving holiday.
We
will
re-open
AIVF
be posted
AIVF
BOARD ELECTIONS
POSTMARK DEADLINE NOVEMBER
on
When:
select
New
Forum. Dates and times
Trembling
www.aivf.org.
at
will
and lesbian Hasidic and Orthodox Jews
30!
who
isn't just
month,
also time to vote for the
presidential election
AIVF
and
Thursday, Nov.
8,
6:30-8:30 p.m.
Cost: free/AIVF members;
$10 general public
Cowboy Booking
International
atrical
distributor
independents,
revivals,
and
include:
Veyigo;
foreign-language
films,
documentaries.
Titles
struggle to negotiate their sexuality

identity within a religious
community.
See www.tremblingbeforeg-d.com.
Hank
The
Life
and Times of
Greenberg; Benjamin Smoke; George
Washington; West Beruit; and
port and vision to the organization. Play
Ground.
role in the
formation of
On
Hostile
AIVF Co-Sponsors:
AIVF
by voting! For more information,
a the-
handling American
Board of Directors, which provides supan active
is
is
Sandi DuBowski's documentary about gay
November
it's
sessions
evenings during Trembling's run at

York's Film
on Tuesday Nov 27th.
Q&A
hosts
MEDIA TONIC: A CELEBRATION OF

PITTSBURGH FILMMAKERS
visit
www.aivf.org
Only paid AIVF members
November
vote in the board elections.

bership expired
on
If
your
To
verify
mem-
or before Oct. 15, 2001
and you did not renew, you are not

to vote.
eligible
your membership status
or to renew, contact [email protected] or

call
807-1400 x.236. Nominee
(212)
3,
2001
are eligible to
FFI: www.pghfilmmakers.org;
(412) 681-5449
Pittsburgh Filmmakers, one of the oldest
and
try,
largest
media
installations,
statements and ballots were mailed in late
live
October and responses are due postmarked Friday, Nov. 30, 2001.
event!
art centers in the
coun-
Cowboy
offers
distribution services for
30 years with screenings,
companies, institutions, and producers
and exhibitions, along with
seeking alternative strategies for chal-
celebrates
its
music. Don't miss this
monumental
lenging and unique films and series.
The company
and
also acts as curator, booker,
distributor
on
various projects that
AIVF Co-Sponsors:
THE OHIO INDEPENDENT FILM

FESTIVAL & MARKET
reach AIVF
The AIVF
(between Spring
New
C
6th fl,
marketplace.
Partners
Noah
will attend.
Visit
www.cowboybi.com
.^DEPENDENT)
St.
in
Fll
M FESTIVAL
MAESTRO!
York
City.
Subways:
or 9 to Houston,
or E to Spring. Our Filmmakers' Resource

Library
houses hundreds
of print
and

directories
&
proposals
&
When: November
Celebration of Media Arts Communities
6-11, 2001
Where: Cleveland, OH
FFI: see www. ohiofilms.com;
Portland Oregon, November 2-5
(216) 651-7315
during the Northwest Film and Video
Presented by the Northwest Film Center
budgets.
Run
BY PHONE: (212)
807-1400

BY INTERNET:
THE INDEPENDENT
November 2001
by AIVF's Cleveland Salon,
The
filmmaker-run OIFF presents a variety of

screenings, panels,
tunities.
DP
60
the
Cowan and John Vanco
fmSi
WED. 11-9
304 Hudson
& Vandam)
in
specialized attention to find success
vrHfl

need
AIVF
Workshop,
and networking oppor-
co-sponsors OIFF's annual

offering
hands-on experi-
Festival. Visit: www.nwfi.lrn.org
Philadelphia, PA,
Presented by
The
November 16-18
Prince Music Theatre
and The Philadelphia Independent Film

and Video Association (PIFVA)
ence with professional cinematographers
Visit:
www.princemusictheater.org; or
(Nov.
www.
pifva.org.
3).
The MAESTRO!
(Media Arts Envi-
ronmental Scanning Tour of Regional

Celebration of regional
Organizations)
Media Arts
is
a tour of
NAMAC,
AIVF,
community-based
presented by a
activities
and
sional needs
women
Films to be screened include: Unintended
Consequences,
media
local
arts
by
Nina
Rosenblum;
Autobody, by Virginia Cotts; 900 Women,
by Laleh Khadivi (courtesy of

of events addresses profes-
organizations
arts
that serve
and organizations; workshops on

fundraising and self- distribution; screen-
Women
Make Movies)
AUDIO
-
sound design
-
and goals of both filmmakers
them. Activities include: focus groups for
HARMONIC RANCH
out of prison into the community.
All
and the
prisoners
partnership of
organizations.
The program
on the issues confronting

and those transitioning
vice providers
proceeds
benefit
National
attend
the
Women
in Prison
ex-prisoners
Roundtable
music
original
-
to
voice overs
- audio
for
sweetening
-ADR
Gune 20-23, 2002, New
artists
ings of local work;
and
York City),
information
a variety of net-
sharing
among female
building
working
parties.
vice providers
These programs are
built
from a national
perspective, but tailored to the unique

characteristics of the specific city's
MAESTRO
munity.
tions
and members of the community a
chance to forge connections,

build
com-
gives peer organiza-
on
viding
conference to encourage
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community
and
-foley
mix
non-linear
ex-prisoners, ser-
editing/
production
and policy makers.
INTERNET
Be a part of this important event where

media really can make a difference. For
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more information: www.aivf.org;

807-1400x301.
web hosting
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(212)
consultation
media streaming
- database programming
wireless development* WAP
-
as well as
AIVF Co-Sponsors:
already-existing resources, pro-
unique meeting ground
MIX 2001: THE 15TH NEW YORK

LESBIAN & GAY EXPERIMENTAL
FILM/VIDEO FESTIVAL
for
artists.
For the complete lineup of events, contact
AIVF
(www.aivf.org)
or
iFeliz
NAMAC
Quinceanera!
(November 14-18, 2001, NYC)
(www.namac.org)
Anthology Film Archives
&
Two Boots Pioneer Theater

AIVF Co-Sponsors:
Two
ST LOUIS INDEPENDENT
FILM FESTIVAL
public panels
year's
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they're free!
importance to queer media
When: November 8-18

Where: St
Louis,
at this
Festival address topics of vital

artists,
includ-
ing "Archival and Departure," an intro-
MO
duction to preservation and archiving
For Further Information: www.sliff.com;
issues.
See www.mixnyc.com.
VIDEO/AUDIO POST
(314) 454-0042
In Brief:
SURVIVING JUSTICE: THE WOMEN IN

PRISON FILM SHOWCASE & BENEFIT
Presented by WomenCare, Women's
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& Home,
Sponsored by
When:
Tuesday,
Screening at
6;
ABC,
November
and
AIVF
When:
Our Producers
$15 general admission; $30
continues
will
be posted
at www.aivf.org.
Showcase
AIVF'S HOLIDAY PARTY
&
struggling within the criminal jus-
community
lowed by
reception.
discussion, fol-
Panelists
3D
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Experienced Editors
Monday, December
will
include filmmakers, ex-offenders, and ser-
Come and
annual bash that keeps get-
merrier every
year!
Editing
Audio Syncing w/
Voice-Over
Sponsored by
Forest Creatures Entertainment.
Mixing
Digital Pix
ADR
Sound EFX
8-10 p.m.
share good cheer with your
peers, at the
tin'
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in Prison Film
tice system, a
Series
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Legal
and agreements. Information
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The Women
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13th.
panel 6k reception at 8
Host. For reservations:
& Sheppard
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Cost: $20
Where: Anthology Film Archives

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THE INDEPENDENT
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members
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meet other inde-
the AIVF
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more
Cleveland,
When:
First Wednesday of the month, 7pm

Contact: Annetta Marion or Bernadette

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Contact:
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www. mifs
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contact your local Salon leader to confirm
to
and
date, time,
When:
First
pm
Where: Borders Books & Music, Wolf Rd.

Contact: Mike Camoin (518) 489-2083,
mike

Festival
Dan
.
Room
140
Wilson, (414) 276-8563,
org/s alon
details.
Be sure
6:30
OH:
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Where: Redlight Cafe, 553 Amsterdam
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Last Tuesday of the month,
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SWAMR
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SWAMP
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OR:
@ videosforchange .com
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of Dallas
1519 West Main

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Where: Access Tucson, downtown Tucson
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When:
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2910 Crescent Ave.,
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EZTV
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of the month, 7:30
Contact: Clay Keith,
St.,
pm
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DC Salon hotline
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(205) 663-3802
CO:
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When:
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Arapahoe Contact:
Library,
Patricia
pm
1000
Townsend,
AlVF's goals of advancing independent
Salons are run by AIVF members, often in
media
association with local partners.
coupled with our nature as
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are shared with
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start a salon in their
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Please call (212) 807-1400 x236 or
organizations to offer joint
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MA:
opportunities
Contact: Fred Simon, (781)784-3627,
members who wish
[email protected]
of
When:
6:30-8:45
pm

68 Calhoun St.
try,
Library,
Contact: Peter Paolim, (843) 805-6841;
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resources.
of
some
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both
large
Boston
of the
in
best
the coun-
and small. Organ-
izations like Atlanta's
Video,
62
media
advantage
e-mail [email protected] for

information!
Membership Program has
already attracted
month
prospective
to take
broader range
AlVF's Joint
Charleston, SC:
for
Film
the
Web!
Visit
is
posted on
www.aivf.org
for
an
Image Film &
& Video and
Foundation, and Austin Film Society
share partnerships with AIVF.

The Foundation
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affiliate
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We

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edit*plus
Combustion*
After Effects

3/4",
S-VHS, Hi8
Create C*v the* comfort

ofcuprivate edit HUtB<
MeffHasiley, Editor
Price
J fat llle JnJcficrfJcrri
Elizabeth
In
the East Village

like
an anthology of Nugent's writing and
a tape of the author talking about his
UShes
By
from LA., where he was during the

rorist attacks.
nailed
down
He
ter-
has most of the casting
almost nailed
well, at least,
down.
Beth Pinsker
by
life.
September, Evans has returned
late
In the meantime, Evans has been meet-
week with an
ing a couple of evenings a

This
is
the second episode of The Independents
Rodney Evans as he
series following filmmaker
goes
on his first feature, Brother to
into production
Hyman
the only official cast member.
is
Evans has an idea of who he wants, but

he's not
done looking
he goes to Los
on our
Web
site at
www.avif.org/independent.
Angeles
for a brief casting trip.
back
New
will
the casting holding room

the Actor's Connection in Manhattan,
It
is
at
quiet
in
to
York
open
for
Then
it's
which
calls,
not be quite as organized and on
The hard
schedule.
part
is
casting the
Troy Lambert, to storyboard.
Evans draws out rough
crumpled
yet.
In early September,
Brother. You can catch up on his past adventures
artist friend,
sits
stick figures in a
notebook, and Lambert
spiral
with his sketchbook and turns them
into recognizable people. They're about a

third of the
way done by the end of the
summer, and Evans says
good sense of how the
he's getting a
film will look
he
when
starts
finally
with just a lonely snack table with a sign-
shooting... whenev-
up sheet
er
Week two
group
middle of the room.
sitting in the
of casting
the open
still
is
calls are yet to
come
want
"I
be
to
hyper-prepared," he
and the actors show up every 20 minutes
says.
appointed times and get shuffled
at their
exact date
that
will be.
an exclusive
"I
have
can't
people
Rodney Evans, his

casting agents, Vince Liebhart and Tom
Alberg, and a cameraman.
before writer-director
standing
when
around
start to shoot.
we
So
I'll
seeing a group of about 200 (at
be using these as a
the rate of three per hour) for seven key
kind of base to work
Evans
is
roles in his film: a
young black
from."
artist strug-
So
gling to find his voice, a white college stu-
dent he
falls for, his
confident friend from
home, and young versions of Harlem

Renaissance writers Richard Bruce
Nugent, Langston Hughes, Zora Neale
and
Hurston,
Wallace
Thurman
for
scenes set in the 1920s. He's already got

Earle
Hyman
Nugent,
find his
who
way
come
"I
who
is
Evans' voice in
think a lot of people are
afraid of the gay material,"
he
offers. Part
out
in the present day.
them
they've prepared
direction
the piece.
lined up to play the elderly
asks
in,
lead part of Perry,
helps Perry, the young
Evans chats with the actors when they
it,
and they do
it
offers a little
again.
He
tweaks
who
doesn't have trouble with the
tells
little
back story about
After each one leaves, Evans and his

casting agents confer.
pile?
Most
actually
Good
pile or
bad
end up on the good
being able to see the world of the film
my head, and
ring to the viewer.
see
how
to audition,
even
that
mind
that he or she
part,"
he
is
is
no doubt
in
my
perfect for the
isn't
there's too
rhythm while
there to build
also has a team of interns workon location scouting, going up to

Harlem and other New York neighbor-
Evans
ing
hoods with Hi-8 cameras.
is
to
And
he meets
budgets, casting choices, and the details
up
young Nugent in the '20s,

him to finish the run
of a play at the Public Theater in
Manhattan and sending Wright material
October shooting
waiting patiently for
November 2001
jar-
start to
much coverage for other scenes.
part of the
THE INDEPENDENT
being
can
regularly with his producers to go over
says.
Evans' star policy at this point
footage
That doesn't make

casting any easier, though. A few weeks
later, after five weeks of interviews, still
64
it
the editing room, frustrated, because the
if
but that he's impressed with the level of

talent in the room.
an
that will lead
is
also
one he considered had
on
continue to court Jeffrey Wright for the
not that Evans
And
to get coverage without a lot of
easy to please,
pile. It's
get a sense of how to get
from scene to scene without
was setting a blanket policy that every-
solved early
extensive and there
or he
like
in
story
more
That eye comes mostly from his work as

assistant editor, he says. He has worked
on a lot of low-budget stuff and has been in
One dilemma Evans
the bit of script the actors have.
lines,
his
lege student.
the characters' emotions to help flesh out
some of
the actors to put emphasis on different
in
money."
meant not considering some

known actors who could help him get
funding. "The only exceptions would be
when the actor's body of work is really
the performances gently, asking
flags
love story between Perry and a white col-
to read the role as
then he
he hasn't
across any red
structure. "It's
of the audition process involves finding
artist,
far,
come
to
potential late
start date.
For more information contact the film-
maker
at
[email protected]
fw
PIXELS
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2001
THE INDEPENDENT
independent animation company
December 200L
21
York PBS stations
WNET and WLIW might signal

the
way of the
by Shelley
future.
Gabert
35 Getting a Share of the Air

An independent's guide to how to
aims for the big time with a holiday
keep the telecommunications pipeline
cartoon from Nickelodeon.
open
an ad. Letters to The
in
tents are copyright of the Foundation for Independent Video and Film, Inc. Reprints require
written permission
28 Texas Toon Time
An
ment. AIVF/FIVF are not responsible for any claims
Independent should
made
is
Sarah Keenlyside
Publication of any advertisement in
by
Journal Services.
32 13
Mergers
to the
Association of Independent Video and Filmmakers (AIVF), the national trade association
26 The Next New Thing
BY Denise
Getson
to
all.
Chester and
Gary O. Larson
by Jeff
Departments
Upfront
38 Legal
Editor's Note
Protecting your copyright in
6 News
The search
the evolving digital world.

for international
documentaries revs up; Eidia

House's NEA
Robert
by
Seigel
L.
Tapes] briefs.
Beth Pinsker;
Richard baimbridge
by

The
AFI's summit to
help
artists
make
use of
streaming media.
13 Opinion
Why
is
intergenerational
romance
Robin Oppenheimer
by
in gay films such
a big deal?
by
43 Books
James Bolton
The Video
Activist
Handbook;
Digital Babylon: Hollywood,
Indiewood and
15 Festival Circuit
Toronto's
new avant-garde
Dogme
95;
and
American Independent Cinema:
Sight
and Sound Reader.
program; the IFP Market
Elizabeth Peters;
Belinda Baldwin;
Farrin Jacobs
by
gets with the times.
by
Beth Pinsker
21 On View
Projects opening in theaters
or airing
this
by
on
television
FAQ &
Info
month.
Jason Guerrasio
45 Festivals
52 Notices
22 Profiles
57 Classifieds
Do-it-yourself media entrepre-
neur David Wilson tours the

U.S.;
make
Sherman Alexie
tries to
a film like poetry.
Robert
Salem
by
Cagle;
L.
@AIVF
61 Events
63 Salons
25 Field Report:
Chicago HD
Students take on
HD video
64 Rushes
In the third installment of
The Independent's
Rodney Evans
series,
hustles into
to spark Chicago's digital
preproduction on Brother
to
scene, while Fletcher of
Chicago plays
HD
missionary. Plus:
Hoop
Brother.
by
Beth Pinsker
Dreams director Peter

Gilbert
BY
on the
joys of 24p.
Nadine Ekrek
COVER
Jimmy Neutron could make

DNA Productions as
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Dear Readers,
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When
the filmmaking community,
the talk
all
was about cameras and how the small
st
new yorkny 10013

J 4 J
dO 2
the digital revolution first hit
mediausa aol.com
w.islandmedia.tv
size
and low cost was going to democratize the

medium. That worked for a while; there is
more material out
there.
The
trouble
that digital technology hasn't yet
distribution
the
ratized
is
democ-
channels that
would allow the public to see the

ty of this work being produced.
diversi-
This issue of The Independent wasn't
EDITORIAL
SOUND
~\y/
c
t
t
a, u
d
h o r
some
reflect
if
g
a
Mix
picture/M&E/VO/ADR'subt
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not one that doesn't
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DESIGN, EDIT,MIX
originally intended to reflect the ubiquity
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AVID offline/online
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part of this shift to digital.
Perhaps not coincidentally, every piece
some obstacle that filmmakwork seen,
also explores
regardless of
its
$199 per
Finding
ers face trying to get their
minute
format.
Denise Getson's cover story on Texasbased
DNA
Productions and
3-D
its
jimmy Neutron,
ani-
Quality
one
example of this. Here's a case where a
couple of guys were able to go from unem-
mated
feature,
animators
ployed
is
of
directors
to
transfers
be a PAIN
doesn't have to
the
in
SOUTHERN
COMFORT
llmMagnTO
Nickelodeon's big holiday movie in just a

i
few years,
all
the while keeping ownership
Grand
computers and a good

able to break
might be
TREMBLING
BEFORE G-D
idea, they
Prize Winner
the other end of the do-it-yourself
we check
front,
Alexie as he
Reso Lution
State of the Art
Award Winning
Onility
poetry to
Full
filmmaker/entrepreneur David Wilson as
he tours the country with
Sherman
in with writer
tries to translate
the screen in his directorial debut, and
Magic
Film Festival
open the animation market
to independents.
On
Prize Winner
Sundance
company and maintaining it in

the Dallas suburbs. With just a couple of
of their
his latest film,
'
Lil
most
City, stopping in places that
others would miss.
Also,
telecommunication policy ex-
perts Jeff Chester
cuss
how
and Gary O. Larson
Transferring to
fejj
35mm, 16mm
and Super 16mm.
dis-
to achieve a different sort of
openness in their guide to
air
power
for
independents. Their key suggestion: inde-
pendents have to
fight to
mation pipeline open.

Independent's
legal
keep the
And
All video
infor-
in
to film
it's
resolution files for film transfer
film/video mastering & timing

.-
"
on how to protect
your copyright when your work is digitized
in any form, from putting it on a DVD to
streaming it on the Internet.
up-rened
25 years experience
The
Robert
finally,
columnist,
is
Seigel, offers advice
PAL & NTSC

Title
115W27st.
New York, NY
12fl.

to- film opticals
EL,2
10001
212-645-8216
in
all
& EFX design for digital & film-
LA 310-821-1962
55"
'Call to
arrange
a screening
of our reel
Beth Pinsker
"See what our competition
is
afraid to believe."
Editor in Chief
Decembei 2001
THE INDEPENDENT
EYE
ON THE REST OF THE WORLD
minute
ITVS
International documentaries finally get respect
about people's responses that
films
will start airing
around Thanksgiving.
Aguilar says this will give

to respond directly
by Beth Pinsker
somebody had called a year ago
"If
and
said
'I
want
to go into Afghanistan
The most ambitious

from PBS, which
is
project
fast- tracking
comes
10 hour-
long documentaries with an international
and make a documentary,' it would have

been a hard sell," says Jacoba Atlas, co-
focus for spring. Temporarily called
chief programming
New York,
"We'd have
but
we
can't
executive
PBS.
at
said that sounds interesting,
do
it.
If
you go
in, let
me
see
what you get."

But now that Americans
are
aware of the world that
beyond the
exists
acutely
CNN
commission half the work and
PBS
will
will acquire
that
money
available
to explore topics like
Asia,
and
especially, the
for
those
South America,
Middle
THE INDEPENDENT
who
East.
December 2001
ming, responding to Sept. 11.
We
have
had
to take resources for other things
pull
them back
and
to afford this."
ITVS, which feeds much of its work to

PBS, is currently working on a series of
about the
public television.
terrorist attacks for
dozen producers are
going to work on three or four one-
crisis.
Aguilar
worries, however, that such a direct
immediate response
shifts
and
the focus from
documentary introspection, which has a

lasting impact, to straight news, which
dissipates with the next report.
"You get
effect,"
spots
is
this
kind of concentric
on the one-year
air
anniversary,
them again
it
newsworthy anymore. So much

to
circle
"How much in these

newsworthy? If we ask how has life
she says.
changed, and we want to
the other half.
interstitials
programs that were produced
can't with
long before the current
yet be hotspots but that
up the world," says Atlas. "We have put

significant dollars into crisis program-
want
may not
are scrambling to put together
means where documentaries

with an international focus have been
shunned by hinders up until Sept. 11, now
there's
the Middle East, but also on other areas
"We're trying to find more ways to open
already exists from independent produc-
And
WNET in
PBS
programming to explain the universe to

them and snatching up programming that
ers.
PBS
the series will not just focus on
should be on our radar screens.
borders of this country, networks from

to
Worldwide and spearheaded by
that
programming Claire
PBS an ability
to the news in a way it
director of
change
won't be
is
about
in the psyche of the people.
a really interesting
It's
moment."
Aguillar and her colleague David Lui,
who
is
executive in charge of program
development
going to get
funders like
at
ITVS,
easier, for
them
also say that
the
moment,
it's
to get
interested in interna-
tional projects.
"I
think there has been a bias toward
C^r^)
American
jects.
pop culture pro-
subjects or
And
we're trying to actively do
something about that," says
ITVS
nonetheless thinks
record
issues.
first
who
has a good track
with
dealing
in
Lui,
international
"We're just in the process of the
cut of our last open
call.
came
through before but weren't funded, that

are a possibility now.
my
And
to
phone
from people
calls
desk,
every time
have a
who
her documentary
atrical release
will see
lot
of
are already
The
now
over the summer, and
get national distribution this
New
International Monetary
fall
Yorker Films.
the people were protesting was the quesIn
tion.
effects
of
Fund
policies
on
my
that question
film,
Given the circuitous route her

took to get to theaters
on TV, getting
playing
for distribution
moment
Black's
main concern
directly to the issue of globalization,
toward international subjects
of
how
to
it
also
answering the question
people outside the U.S. view our

its
tiplex
and not
in shifting the
is
just
at
interest
at the
mul-
on TV.
"There's a bias that underestimates the

marketability
policies.
film
festivals,
a brief self-instigat-
the
way
ad-
ed theatrical run, then getting picked up
Jamaica. While the piece speaks most
goes a long
is
dressed."
airing
the
explores
film
country and
11."
working on something about Sept.
it
and Debt into the-
Life
and winter through
We're look-
ing at a couple of projects that
come back
documentary front actually dates from

before Sept. 11. Stephanie Black coaxed
theatrically
of
documen-
But not everyone thinks things will

change so quickly, or that ITVS and PBS
were paying
tional
much
attention to interna-
Rory O'Conner,
before.
issues
founder of the media company Globalvision,
media
which
specializes in international
in the U.S., thinks
Americans are
missing just about everything out there

that there
to
is
know. His 14-year-old
company produces documentary

and
also maintains a
Web
projects
site at
medi-
achannel.org that aggregates international news directly from other countries'

news sources.
"Prior to Sept.
11,
it
was
just
about
do anything that wasn't

exclusively about America and get it
futile to try to
funded in America," he
Clockwise from top
says.
Promises
This unpopularity of international documentaries
is
evident
over the
months
the weeks and even

rorist attacks,
all
dial.
multiplicity of viewpoints, exposing audi-
can draw
their
of different analysis.
own
as a viewer, that's
esting
I've
They
conclusions. Speaking
what
find
and compelling. Let
most
me
bright light
is
premiering POV's
of early
PHOTOS: MEAGAN LARA SHAPIRO: MAJID KHAMSEH
NIA;
HUMAN RIGHTS WATCH
"Because of the way the American
media
is
Black.
"I
structured,
didn't go to
film about the IMF.
insulates us," says
it
Jamaica to make a
But while
was
there,
came to see what a far-reaching arm the

IMF had in day-to-day life. We, as
Americans, don't know so well what poliI
cies are being
imposed in our name."
all
the time, as inde-
she says.
"We can
minds. There's just no place for them.
And
we're just not encouraged to
make
them."
She adds, on
least
little
Black started working on her piece 10

years ago, worrying
taries of this nature,"
count the ones that stand out in our
than
a positive note, that at
her film getting out there "proves a

that there's a broader market
bit
is
being acknowledged."
There's some indication that audiences
At
pendent documentarians do, that she'd
might already be proving
end up getting scooped by one of the news
recent free Chicago screening of Jung
shows
like
60 Minutes or 20/20. To her
surprise, she
never did. As soon as the
anti-globalization protests started,
there
was some coverage of the IMF, but she
Human
Watch
Film
free
ple
lence in the street

anarchists.
the
Where was
festival-seeking
the content.7
\\'7i\
is
making
Rights
Festival
available fox
community screenings, over 700 peoshowed up. Sponsors of the screening.

Facets Cinematheque, added tour additional showings that same daw
our media ever covered was the
and the
vio-
International
[www.hrw.org/ifTJ
violence,
became about
(War): In the Land of the Mujaheddin, a
says, "All
story
that.
documentary that the
inter-
on the international
in
Afghanistan.
see stuff
never seen before."
One
PBS
and Human Rights Watch's Jung, about the turmoil

after the ter-
CNN endlessly replayed the
lot
left:
December; a re-enactment
Islamic civilization from PBS' Islam.- Empire of Faith;
In
Channel 4-funded documentary Beneath,

the Veil, which it picked up this summer.
MSNBC was putting a piece from independent producer Len Sherman, Inside
Afghanistan, on heavy rotation. Even PBS
had to rely on repeats, namely an updated
Frontline on Osama bin Laden. It also has
a POV installment on Israeli-Palestinian
relations called Promises, and a special on
the history of Islam on tap. There was little in the works directly on the topic, and
no way to play catch-up while news was
breaking and bombs were falling.
What we need to do to be informed
continually, O'Conner says, "is put out a
ences to a
in
Dccembci
AVI
THE INDEPENDENT
PIXELS
When you want
to
move an audience,
its
heart, naturally,
film
but
human
in
the
warm, human
you turn
in
and genuine
light
much more leeway
its
to film.
Because only
a rigid grid of binary code,
to
and shadow. With

create
mood and
film also
later on.
And
ultimately,
more opportunities
to
touch the
hum^-
he story

All
New
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Up-to-date profiles of over 800 Film
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From Cooking Lessons
database of information."
to
From
Saving the NEA at Eidia House
the start, the couple has
take similar actions.
Paul Lamare and Melissa Wolf, who are

conceptual artists and documentary film-
move-
easy to spark a
makers, realize
it isn't
ment. In
the husband-and-wife team
fact,
"steal" their
as
funding and
was an
statement, and they're not
artistic
really sorry for anything.
They're especially
Chelsea
offices.
sible
House
"Eidia
tion
that
is
OFFERING
affecting artistic
SYSTEM RENTAL
TECH SUPPORT
the
"Just
go to
galleries all look like
EDITORS
TRAINING
law
Art used to be much more accesand integrated, even back in the

SoHo days." Aside from blatant corporate
CLIENTS INCLUDE
HBO
PBS
BBC
an underground
is
physical embodiment.
for artists today.
but at least
NEA
BRAVO
OXYGEN MEDIA
"It's
now
is
LIONS GATE FILMS
a dark time
WE HAVE SUPERVISED
We're being ostracized,
OVER
forced us to get together in
it's
places like this
The
IFC
situa-
jokes Lamare, sitting in
literally,"
the Brooklyn basement studio that
and
FAX 21 2 252 091
five years ago,
45
E. 30th Street, Eleventh Root,
As
the flagship of their philosophy.
^mt
explained in the Eidia House manifesto,

Karen Finley
Artist
their goal
is
"to
promote a comprehensive
expansion of the influence of

world wide
radio, print,
basis... [including]
art
on
is
WW
interviewed for
television,
and the Internet."
travesties
like
the
American
Airlines
Theater on Broadway, Lamare and Wolf
motivated witch-hunt to
presses.
set
was
less
funding,
out on a cross-country road
NEA, even though
The filmmakers
Rio, Texas,
the
NEA
trip
NEA
Del
was the only
promoting things
and interviewed people
like local
like
and
galleries,
um
to the extinction of small
Meanwhile, CEO-stocked muse-
boards have produced an even more
elitist art
world that Lamare says
Tim
Noam Chomsky, and former

head Jane Alexander. Yet the most
compelling segments come from talks
In
some ways, The
NEA
tic"
work, which includes gallery
tions, as well as
Starving Artists' Cookbook.
sent
unknown cowboy poets and Native

American basket-weavers.
with
Lamare
says.
could finish in one
"Then
it
became two,
then three... then Giuliani," he laughs.

"It's
been
like
NEA
The
doing our Ph.D."
Tapes
still
doesn't have distri-
and so far, only Bravo and the

Independent Film Channel have aired
bution,
excerpts.
Lamare says, "Eventually, we

make the film viewable on the
want
to
Web
[www.neatapes.com], along with a
is
"artis-
installa-
another film called The
Robbins,
year,"
domi-
Tapes
departure from the couple's more
NEA
"We thought we
is
nated by "economic censorship."
efforts.
visited places like
where the
life-blood for
theater,
kill arts
than supportive of their
Solution
Experts
The NEA Tapes.
point to recent closures of independent
to save the
New York NY1 001
Apple
The project started when Lamare and

Wolf became alarmed by the politically
and they
FEATURES
TELEPHONE 212 252 1906
two-hour documen-
began
10
EDITED ON FINAL CUT PRO
talk."
Tapes, a
tary that the couple

is
how
think there has been a defi-
NEA Tapes.
The
its
"I
change," Wolf says.
nite
House, a concept that boasts a manifesto

film to distribute
D-LABPOST
FNALCUT PRO SPEOAUSTS
includes privatization of arts
freedom.
not sorry for their newest project, Eidia
and a recently finished
work, and point to National

show "Studio 360"
topic of many discussions at head-
quarters
the apology
to
urge people to
proof of their success.
The
apologized for even trying in a recent issue
Of course,
They
to
Public Radio's art talk
of ArtForum, along with apologizing for

their entire careers.
hoped
and filmmakers
inspire other artists
That project
them hiking around the globe to film
artists, including John Cage and William
Wegman, preparing cheap meals in their
own
kitchens.
The NEA Tapes has nurtured

Wolf and Lamare's artistic inspirations.
"It's made us more socially conscious and
Still,
concerned about our place
Lamare
in the world,"
explains. "Like, we're really into
recycling now,
which
is
part of Eidia's
'deconsumption' theory, called '101 reasons to stop making

Let's
art.'"
hope they're just being conceptual.
Richard Baimbridge
Decembei
2001
THE INDEPENDENT
Utah. The festival was founded by a
Filmmaker Alliance member, Shiron
who
The
remain on
will
and co-founder,
president
group's
Ball,
as festival director.
Jacques Thelemaque, says the 2002 event
down from
be scaled
will
and held
previous years
King Hotel
at the Silver
the festival mysteriously lost
companies
SHORT STANDING
Nine
film
got calls
festivals
AT&T
this
fall
informing them that their winning short
documentary
the
films
would now
Academy Awards.
Shortsfest,
On the
qualify for
list:
Black Maria Film Festival,
Clermont-Ferrand Short Film
Double
Aspen
Documentary
Take
altogether
tors
AOL
like
Time Warner and
although
companies operate
as
most cable
monopolies in par-
ticular markets.
The same
reconsider
its
FCC
also decided to
rules against the cross-own-
ership of television stations
pers in the
previously considered scrapping
hausen, Sundance Film Festival, Tampere
ship cap
Uppsala
Festival,
International
Short Film Festival, and the
USA
Film
Non-documentary
vals,
winning top
but the
list is
shorts
can
also
and its ban

against one company owning two TV statelevision stations,
prizes at film festi-
much
longer,
and that
category was not most recently in jeop-
ardy of being dropped altogether.
Why
technology
tal
we want
goal of any film
20 years of trying to exhibit
for
films by filmmakers
ence
committed
to this
vague impression
medium
is
at the
Academy who have
ple of
works from our
that have been
as
we
can.
My
that there are people
noticed a cou-
festival in the past
nominated and won."
See www.oscar.org.
tain; they're always political."

It was an argument that
would be picked up again and
Verizon employees at the
tions in the
When
WTC
site,
photo courtesy fcc
same market.
the
FCC
opens a notice of pro-
panic that the rules of telecommunicaare
going
to
suddenly change.
However, a federal court ruled
A few months after taking his place at the

head of the FCC, chairman Michael
Powell (son of Secretary of State Colin
on his way to changing many of

the FCC's long-standing rules about
Powell)
just
FCC
if it
wants to
30 percent of U.S. television households

rule, for instance,
THE INDEPENDENT
acts finally. (For analysis of this
but finding distribution
than
ever.
As Tom
"There was
1 1
to
make
little
has kept
December 2001
Los
Filmmakers
Angeles-based
Alliance, an 8-year-old cooperative

specializing in digital films,
Digidance, a 3-year-old digital video

val held during
Sundance
now
has bought
festi-
in Park City,
will
be harder
Pollock, producer
room
political
there's less
The
BUYING THE FARM

The
con-
will
and
former head of Universal Pictures, put
and
company from reaching more than

This
easy in the big blockbuster world of
American cinema.
The verdict? Indie filmmakers
situation see p.35.)
scrap the ownership cap that keeps one
at once.
it
fence and pretty much everyone else on the other. One thing everyone could agree on, however, was that
making movies with a message isn't
rules of these
wants to check out what people think
before
with Shaye on one side of the
tinue to attempt to tackle serious issues,
being government regulation, the
FCC opened a notice of pro-
posed rulemaking to decide
10
the
kinds seems to be in the works. But this
days after the terrorist attacks of
Sept. 11, the
cable
most
for
and the com-
is
diversity in the media.
Two
cable companies in March,

plete abolishment of
again throughout the morning,
(center) meeting with with
posed rulemaking, there's no reason to

tions
CHANGING THE RULES
audi-
with, "Movies never just enter-
FCC chairman Michael Powell

are
the
and author bell

responded immediately
hissed,
hooks
as
who
serious-
to entertain
is
not send a message
to our philoso-
many new
more
first scuffle at the "Making Movies

That Matter" panel at the 2001 New York
Film Festival came pretty early in the
game and set the tone for much of
on
the
sparring
that went
throughout the nearly two -hour
long event. When Bob Shaye,
chairman and CEO of New Line
Cinema, declared that the first
thinks his festival got picked because,
phy
little
The
John Columbus says he was not

aware that this rule change was in the
works, and so he did not apply or make
any formal call to be included. But he
been sticking
starting very small,
to be taken a
DEEP THOUGHTS
these nine? Black Maria festival
just
digi-
a creative tool," says
as
See www.filmmakersallliance.com.
ly."
director
"We've
digital tech-
more focused on using
owner-
its
Festival.
qualify by
nology, we're
and newspasame market. The FCC has
Festival,
Festival,
on
Park City's high school)
at
"We're not focused just on
Thelemaque. "We're
day, the
International Short Film Festival Ober-
Film
upon space
from driving out smaller competi-
(after
agreed-
its
panel,
it:
before September
statements
[in film]
room now."
however,
which
was
dreamed up back in the spring, wasn't

meant to be a "films after September 11"
event.
to
"We were not
talk
asked to come here
about September
reminded her colleagues. "In

had, I would not have come."
11,"
fact,
hooks
it
we
Cong ra mlations
Daniels
to Jeff

of their
Escanaba
in
debut
film
Da Moonlight.

/
Music: Alto Reed

i:
Editor:
<qL
Robert Tomlinson
answer and release
Title
sequence and credits by
P
Film Craft Lab
Voice: 248.474.3900
printing by
S T
and Postique are
U E
divisions of
Grace &
Fax: 248.474.1577 www.filmcraftlab.com
Wild, Inc.
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(iS^SJ^-j)
way
as a
The Age of Innocence
issues. It
sion, fear,
Of
The taboo
romance
of intergenerational
James Bolton
by
to get at
understanding these
was time to move beyond confu-
and
hysteria.
course, finding the
money
Most people
subject matter.
felt
the film
few suc-
would be too "controversial."
May-December
While
romances are
in
movies
all
man and
adult
again discussed the incredible fear his boyfriend
long as the
as
relationship involves
an
young woman,
pretty)
must
have experienced and the
o courage
(very
We
gotten back together.
the rage
it
took to follow
My friend
| his heart.
said
he
acceptance
does not generally apply
would have respected him

whatever his decision, but
rom-
had always
same
the
to intergenerational
ances involving gay couderstood and demonized
and
my own
board of the Motion Picture Association
generational relationships.
of America.
was what
filmmakers dare to broach
the subject simply because
Cuesta's L.I.E., about a gay teen's compli-
cated relationship with an older man;
Schroeder's
Assassins, about a
Our Lady
of
the
middle-aged writer
who
and
for a teenage gangster;
falls
Eban and
While Schroeder's film got an

and was released by Paramount
L. I.E.
my
rating
Classics,
and distributor Lot 47 got pressured
into an
NC- 1 7
rating,
and
my
film will be
I'd last
consider
on underage and
wanted
inter-
decided
my
to explore in
it
first
Art that means the most to
me
is
and is brave. This is the kind of work

want to do. I knew this was a subject
wanted to tackle, and here was a story
wasn't looking for trouble
on the
Charley almost eight years
my
early twenties
into an old friend
We
teenager.
before he told
he had
love.
whom I
he was
a boyfriend
But
had known
gay.
for
as a
a while
At the
time,
and was very much
his boyfriend
relationship
and had recently run
were friends
me
when
Eban and
ago. I was in
story for
had broken
because
friends
off
in
the
had ex-
pressed their concern over the substantial

difference in their ages.
may have
My
friend
and
only been teenagers, but
we
understood the fear that prompted the

breakup.
Several
months
later
he told
me
they'd
was Gus who introduced
me
fact,
my
to
pro-
Chris Monlux. Chris wanted to
ducer,
produce the film but didn't have access to

the kind of
After
Celebration,
film
on
money we would need.
Thomas
seeing
I
Vinterberg's
decided we could make our
digital
video for
much
money
less
than we had originally thought. Chris was
and
able to pull together about $25,000
though
knew
that budget would
for a different film
envisioned,
than
had
make
originally
thought what was important
as telling the story.
The
I'd
shooting script
used was the one
written eight years earlier because

in
its
it
intention: to provoke
had
I
I
to write.
thought
it
would be interesting
to
explore a relationship in which the differ-
ence in age was not so great as in

Death
enough
to
Venice but was
in
to be considered taboo.
make
Lolita or
substantial
still
decided
the younger character 15 -years-
when
had been
thinking about sex with other boys for
it
old because
started working
were encouraging. In
erican Beauty)
art
released by Picture This! Entertainment

as yet unrated.
did what they could to help me.
was so exact
but
is
welcomed the material and

Gus Van
Sant and producer Bruce Cohen (Am-
cessful people
that has great heart, provokes thought,
film,
Charley, a dramatic love story.
feelings
this
feature film.
a part of
it is
Most recently we have Michael
Barbet
recon-
me he was
made me
but also with distributors and the ratings
life.
each other.
been together since

seen him. Hearing
so,
for
when we
trouble not just with potential financers,
But even
they
with the same guy. They'd
These
immediate
teens.
movies get in
later,
nected, he told
that involve
are stories
adults
Years
that despite
difference
were perfect
misun-
Especially
ples.
age
their
felt
make
to
Eban and Charley was not an easy task. I

encountered mountains of fear over the
was
15,
had only been with girlfriends. I

had strong emotional, romantic attachments to a few older men, but I was still
years but
dealing with
The
from
my own
legal age of
fears.
consent varies
state to state
in
and dramatically
in
issues are rarely taken into consideration,
sexual
and
girls.
kids' rights, the varying rates of
maturity,
and the psychological
social differences
a scene from
Eban and Charley.
slightly
countries around the world. But the real
such as
Giovanni Andrade leans on Brent Fellows
between boys and
Intergenerational relationships can
work when there is mutual love, respect,

and understanding for each other.
With Eban and Charley I wanted to
engage people in thought and discussion
people to reconsider their
own
ideas
on
the issues involved by presenting the story
with honesty and compassion. People
have seen
encounter
it tell
me how happy
a film that
pushes boundaries
with both style and content. But,

that's
what cinema should always

]ame$ Bolton
New
is
think,
do.
a filmmaker based
York. His second feature,
shoots in
December 2001
who
they arc to
tn
Dreamboy,
summer 2002
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**
CIRCUIT
companying
first
from the early
Riding the Wavelengths

Toronto's
silent pieces
avant-garde on the piano
measured up
it
to a "spectacle"
would have
if
we weren't
museum crowd here.

have any of his own work
talking about the
avant-garde sidebar
Snow
didn't
he played with pieces
in the program, but
Beth Pinsker
by
like
Etienne-Jules
Images
1905
II
The
Marey's
from 1890 and G.W.
New
Interior:
York
First
Bitzer's
Subway,
14th
42nd Street. Among the new

works were Miles McKane's Baby Dream
Street
II,
to
which used footage from the
silent era,
and Rose Lowder's Les Coquelcots, which

strobed three minutes of a collage of red
poppies with a boat flowing through them.
Nathaniel Dorsky's Love's Refrain was the
newest and longest of the works; it

jumped among images that were seemingly
disparate
trees, water, etc.
until the
question and answer session afterward.

Dorksy's torturous few minutes up in
crowd at the end of the program reveals something of what Oxtoby

was up against. Even an educated, dedicated crowd (these folks hadn't trickled
out in the minutes of silence lett between
the shorts) had trouble making sense of
the images
like impetuous museumgoers who look at modern art and see only
lines and dots.
front of the
One
member asked Dorsky

film, how he
of the images. The artist
audience
about the sequencing in the

chose the order
balked. "Every shot?" he asked impatient-
TO GIVE A REPORT OF THE
2001

story.
The
first five
gressed normally.
days of the event pro-
It
film professionals,
TORONTO
was
all
convention of
about the business
of film and of marketing features that

already were slated for distribution
and
of selling ones without a backer.
It
also
was
about celebrity sightings and exclu-
five
So perhaps
days after Sept.
11
this
is
good year
back and explore the pure
step
which
film,
what
is
film
ostensibly about anyway,

tial
future ticket sales.
to take a
art
are
and not poten-
The
furthest you
world
at
Toronto
inaugural
Snow and
this
year was the festival's
avant-garde
program.
after Toronto's
Called
own Michael
1967 masterpiece, the four
his
blocks of short programs were intended to
back home. Films were the
give an introduction to avant-garde film as
least of any-
well as an alternative to the commercial-ori-
That's not to say that there weren't plenty
ented focus of the
"The
of worthwhile offerings showing at the
festival,
which has
ing that over

didn't
seem
300
as if
it
anyone stumbled across a
"spectacular" film.
seem
to be a given consider-
films screened. But, yet,
That
is,
to be a film that could
there didn't
change the
direction
of filmmaking or catapult
unknown
director into the spotlight be-
drawing nervous laughter. "There's a
different reason for every cut. That's sort
form of
festivals
were a confusing, panicky attempt to get

one's concern.
ly,
could get from the horrible reality of our
Wavelengths
sive party invitations.
The second
cause his or her work was so extraordinary.
to tell half a
is
festival
rest of the
the festival evolved,
we could
its
26
slate.
years, but as
we wanted
to see
how
position a really solid pro-
gram," says Susan Oxtoby,
who curated
the
event and also runs Cinemateque Ontario.
The opening
an
a
of cut-out collages called
has had a lot of programs
on the avant-garde over

well
Toronto
From Lewis Klahr's series
Ingram Sepals: Melodramas 1994-2000.
night of the program was
unique event with Michael
Snow
ac-
of an overwhelming question," he continued, apologizing tor not being articulate.
"The
film
lated into
ured out.
is
not meant to be read, trans-
spoken language and then

It's
like a
fig-
poem."
By the time Dorsky was done, he had

given
good explanation
LWnik-r AY
ot
how
to
watch
THE INDEPENDENT
15
'
?J
"
ZD
î-j^Jf
this kind of work, which none of the

makers seem comfortable calling
/Platf
Call for
i5' i 9, 2002
film-
just
visual experimenting,
finding
new ways
he
says. In fact, he's
to deal with the trans-
"avant-garde" or "experimental." Dorsky's
formation of images on
main point was that you have to watch

films like these the way you look at art.
"Narrative
is
just
video.
digital
one way of organizing
time," he said, shrugging
it off.
From Mark
Entries^
Street's
collage short
Sliding off the
Edge of the World.
fflUIKIIttCEmRBIiltSHin.1S
Two
of the other
f* !!^
5
EiTRYDiLliEJAU
programs offered
compilations like
UkTE DEAOLIME (ADBITIOHAL FEE) JMI. 22
the
There are no thematic nor content restrictions.
Entries
may be narrative,
documentary,
animation, experimental, computer graphics,
works by children, children's programming,
music videos, performance,
ing off in
many
different
direc-
etc...
was
(25 mlns. or less), are eligible for
award will be
info
to register, visit www, videofestorg.
sented at the pre-
and
miere,
For
questions or more information, including
The filmmaker makes
the kind of choices
The
sponsorship and advertising opportunities,
in terms of lighting,
placement, sound,
Gitlin's
contact 214.428.8700 or email mfo%videofestorg.
Setter
living tttreogft video
and speed the same
color,
as
if
he were
holding a brush in front of a canvas
no parallel in the
universe of moviemaking, particularly
narrative moviemaking, that most people
process which really has
RHU
AVID
it
much newer
than the work pre-
and one audience
given. Rental fees will
be paid to participants. For more
Most of
tions.
Awards: Texas-based short works
juried compilation,
night's,
first
with work head-
however.
line-up included films like Michael
Shudder (Top and Bottom), a 3-
minute manipulation of found footage;

Stan Brakhage's 10-minute hand-painted
Lovesong; and Diane Kitchen's 17 -minute
close-up exploration Wot the Ancient Sod.
have experience with.
Oxtoby
describes
work, with
it
as "highly personal
who are working almost

in how they expand the
artists
with signatures
medium, and doing it in a very fluent

way really understanding what film is."
Dorsky also managed to take the discus-
sion
step
than explanation,
further
proposing that
it
might be time
garde filmmakers to
for avant-
move beyond
simply
working with the manipulation of visual

images. "Everything has been exercised,"
he
24 Hour Edit Suites

3D Meridian AVIDS
Media Composer 10.0

Full-time Support
said. "It's
"I
who
transcend the form in which they
It's
(212)633-7497
way
monarchy
the same
government
BROADWAY
THE INDEPENDENT
December 2001
that any type of

or democracy
California-based
Klahr, however,
collage
had
his
artist
own
Lewis
night.
The
45-year-old filmmaker specializes in stop-
motion animation of cut-outs from old
has the potential to be awful or fabulous.
magazines and other items and "found"
I'm not talking about commercial cinema
footage.
here, but Bresson or
Ozu
or at least this wasn't something he

yet.
The work
plays almost like ani-
mation, but not quite, because
or Dreyer."
Michael Snow wasn't of the same mind,

thought about
16
to go deeper."
says later. "In a certain way, there are peo-
work.
1133
it
avant-garde and narrative film. I was

drawn back and forth thinking one was
more genuine than the other," Dorsky
ple
RADICAL AVID
time for
was always equally pulled by the
had
He's not done with
highly stylized.
under the
dramas
title
He showed
Engram
994-2000.
He
it
is
so
the pieces
Sepals:
Melo-
explained later
that "engram"
is
memory and
a unit of
SON VIDA PICTURES
"sepals" are the part of the flower that
41
holds the petals in place, so together
engram
memory
sepals stands for a
place
UNION SQUARE WEST

NEW YORK CITY
holder.
The
work forward through time
pieces
from the 1950s and establish a
mood
for
each period he's exploring. The centerpiece
23-minute segment called
is
Govinda, which focuses on the 60s and

70s.
"There was a cultural
point in history
and
wanted
which
to
convey
shift at that
212 242-9585
experienced
impact," he
its
said in the question period after the films,
which was moderated by Christian Science

Monitor film
David
critic
Sterritt.
were used to shocks by that time.
"People
If
was
able to establish engagement, created by
expectations, then by breaking
convey how
he
felt,"
it I
radically different that time
said.
How does
20
02
would
one do
Klahr uses both
this?
*)V
sundancefilmfestival
imagery and music to build to a crescen-
do
an orgy scene
chanting.
The
set to a
footage
January 10-20,20
soundtrack of
includes
also
wedding scene that seems wildly manipulated with a purplish solarized tint to
but Klahr explained that
it
it,
was actual
footage he shot at his brother's wedding
The Sundance
Institute presents
the 18th annual Sundance Film

Festival, including
the
Independent Feature Film

Competition for the best
dramatic and documentary
The Film
Festival
films.
program also
presents Premieres, American
Spectrum, World Cinema, Native

Image: Eileen Cowin
Forum,
Frontier,
Sundance
Collection, Shorts, Park City at
Midnight, House of Docs, Piper-
Heidsieck Tribute to Independent

in
1979 that
just
happened
oped wrong. Perhaps
that's
to be devel-
found footage
of the most authentic kind.
Oxtoby
tinue
said the festival plans to con-
the
avant-garde
expect to get a
lot of
program.
Vision,
and the Sundance Digital
The
official
Web
2002 Sundance
site will
go
live
on October
Center, as well as panel
We
discussions and special events.
beginning at 8 a.m. mst,
2001.
November
1,
2001.
"I
submissions in year
Visit
www.sundance.org
ting
Film Festival information.
"And I could imagine setup some kind of panel or discusThe program just wasn't ready for
for online
and general 2002 Sundance
two," she says.
it
15,
encourage you to register online
registration
sion.
Film Festival
this year."
December 2001
THE INDEPENDENT
17
ti~iJiSiLi 'AV;
CIROinT
atrical distribution
Ch-ch-change
Spools
of
was a ques-
it
of most documentaries not being
tion
enough, making
them out of sync with what audiences want to see.
"entertaining"
Trying to keep up with the times at the IFP Market
Beth Pinsker
by
very easily or very often.
Michael Moore thought
"How many
country was a needed boost
of you have seen

Word 1." he asked.
Nobody responded. So then he
asked if anyone knew what the
film was about. In the context of
the IFP market, with Al Maysles,
was
Bruce Sinkofsky, Stanley Nelson,
Don't Say
much
as the influx of film-
makers and industry representatives from
for
all
over the
lower Manhattan,
also a
needed outlet
it
for the
most of
artists
themselves,
whom
expressed their grati-
tude in public whenever they

could.
Going forward was
also a sign that the indepen-
dent film
boom
of the last 15
years was not just an eco-
R.J. Cutler,
Jonathan Stack, and
Beverly Peterson on stage,
an impossible reference
crowd
it
was
for the
to place.
Moore pointed out
that
it
was the num-
ber one box office hit in America that
weekend,
above Zoolander (which
right
several people
had
actually seen). Moore's
nomic accident in good

times and bad, in the glare of
point,
Michelle Byrd, Irwin Young, and Milton Tabbot on
the spotlight or in obscurity,
reach an American audience and not just
opening night at the IFR
people at the Film Forum, you have to
will
continue to work.
The market
questions in
Market got started on Sept.
technological exhibits, and screenings,
just
because of the
30,
and not
terrorist attacks earlier
that month. For
many
year's gathering
was already going to be
about the seismic
other reasons, this
what
all
days.
The
independent
shifts in
film during the past year
because
that's
such gatherings are about these

IFP,
like
advocacy groups,
is
many
artist- oriented
searching for a way to
of which
made
clear in their
of today's
limitations
independent
On
with these global
usual format of panels,
its
own ways
all
the
marketplace for
the panel side, the subjects ranged
the
The
making.
Another
sort of voice
on
after the events of Sept.
1 1
all
week
which was
but
it
was not exactly an
opti-
L.I.E. to
Jenny Livingston, HBO's Sheila Nevins,
Inch,
and
benefit of these events
is
mistic voice.
actress
Parker
and
Posey,
support mechanisms that filmmakers need
of representatives was impressive consid-
this
ering widespread travel fears.
ipate in the discussion in a
five
The A-list
movie star-types like Robert De Niro only
showed up for the IFP's Gotham Awards,
from 23
but to independent filmmakers looking
information,
at the
storytelling
the processes of film-
films Tortilla Soup,
now.
training,
the
was heard
last-minute add-on panel
networking, of course, and the IFP's array
the
for
for
Village."
and
provide
film
Although there was a panel,

including filmmakers Jim McKay and
Angry
how-to panels on
film
probably the best- attended event of the
film.
from case studies of the
Hedwig and
between making
Americans or making a
decide
The dramatically changing world was

a primary topic of discussion when the IFP
dealt
which framed the rest of the afternoon: "If you are American and want to
the
IFP's
Michelle Byrd and Saundra Schulberg,
was a time
for the
audience to partic-
their projects?
Documentary." This didn't turn out to be
more substanway than just a QekA.

The discussion turned out to be largely
about the same issue as at the documenwhich was also a common
tary panel
theme at many of the how-to distribution
and financing panels. How do you break
open the system to allow more voices?
The filmmakers in the room were feeling
overwhelmed by their smallness in the
face of a great disaster. But at the same
These are questions that are faced by

many more organizations than just the
an exploration of new forms of documentaries, new players in the field, or any mod-
obstacles in the
Realizing that the world of indepen-
markedly different from
dent film
is
years ago,
and
years ago
when
market,
the
is
especially different
the IFP held
first step.
How
its
original
does a film-
for
money, the BBC's Nicolas Fraser or
Next Wave
Films'
Peter Broderick are
maker resource organization help its constituents now? How does an organization
luminaries enough.
that struggles for funds just to keep itself
couple of hours at the mid-point of the
members
money to make
afloat help
kind of
IFP
its
including
find
the
Foundation
the
same
for
Independent Video and Film, which publishes
The Independent.
The
first
good step
for the
THE INDEPENDENT
week
discussing
IFP
this year
December 2001
"The Changing Face of
ern-day breakthroughs.
forum
for
panelists
was to forge ahead with the event. As
18
Participants spent a particularly cogent
the
were mostly what would be con-
sidered the "establishment"
ure out
was, rather, a
It
documentary filmmakers
why documentaries
trying to fig-
don't get the-
tive
time,
they were
feeling
stifled
by the
way of expressing their

feelings in a public way through their art.
Here, Nevins had the words of the
moment
for
how
to cope with the endless
questions of what
it all
no fucking answer," she
means. "There
said.
is
PAL
IFP Market participants also faced a

harsh reality at the technological exhibi-
which were mostly curtailed
tions,
& NTSC
DVD Video Authoring
this
Final
Cut Pro Editing
AVID
Editing

(PAL DV to 35mm)
(8mm, 16mm & 35mm)

Sales
Demo
Professional/B'Cast
Video Equipment

year because of the economy. There was a
heavy emphasis on
Cut
including Final
new
the
digital
postproduction,
Pro.
The newest
of
technologies that was exciting
HD
people was high- definition. Talks on
HD
production,
much
spectrum, however
full
represented
it
St,
New York, NY
Tel
2nd Floor
10017
(212) 688-5110
Fax: (212) 688-5405
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(800)
922-4PAL
the high end of the price tags.
The
20 East 49th
new
postproduction,
and exhibition created
cameras,
screenings are the heart of the IFP,
shame that more people don't go

to them. They are set up ostensibly for
distributors and funders to see what's
and
it's
available,
as a result.
stories
who come
don't
often
ever
success
sit on the panels

beyond the Puck
the talking happens.
all
the filmmakers
who come
Market spend most of
own
shilling for their
The
to
stray
Building where
And
much money
but not
changes hands
to the
their days either
films in the lobby of
the Angelika or going to panels, and so
they don't even see
much
of their col-
leagues' work.
So who goes
to the films?
Not
a signifi-
cant number of people. Even the biggest
houses at the Angelika aren't as big as a

regular multiplex.
And
pick any
screening during the week,
when
be
a panel
less
is
The Market
festival,
ence
to
but
it's
may be
to
is
likely to
is
not set up to be a film
not an academic confer-
or
buy
tickets
having screenings at
points that need reconsider-
ation in today's
challenge
it's
full.
either. Letting the public
screenings,
night
going on, and
than half
random
especially
new
world. Because
if
to air a diversity of voices
entertain the public,
the
and
then why not
exercise that philosophy?
December AVI
THE INDEPENDENT
19
Introducing LowelScandles: A whole
new way
of looking at fluo-
rescence for location or studio. With tubes arrayed

of a
gun and an
installed rotating
speed
like
you can
ring,
the barrel
finally
attach
softboxes, Chinese lanterns and a host of other available front
accessories to a fluorescent
light. Soft, efficient
sten at a price that's equally efficient.
All
daylight or tung-
to help
you master a
multitude of tasks, from high-res to web-res, from film to

Its
what you'd expect from the world leader
in
digital.
location lighting.
lower
It's
the details that
make
a light a Lowel.
and then follows the

ed by
Hank
it.
lives that are affect-
Bob Thornton), the
(Billy
corrections officer on death row,
must
deal with his son (Heath Ledger) committing suicide. Leticia (Halle Berry), whose
husband (Sean "E Diddy" Combs) was
the one executed, must learn to
THEATRICAL
and Leticia
tale,
bombs and
this horrible
live to tell the
but the closest a B-52 ever got to

that mission
filling
is
the
Learned
to
Or
Stop Worrying and Love
mission
fleet's
is
to
entertain tourists at an Arizona airbase
where
rests
it
with other planes.
The
root of his madness. Bill must decide
Ann
there to help or
is
else waiting for the
This
Campbell Scott
game of
Deary
(Bill) as
Denis
starring
man who
injection"
"final
7).
is
awaiting his
by the government.
Ann
Before that fateful hour, his doctor,
(Hope Davis),
is
the
determined to get to the
between
at the relationship
its
series
tary spotlights the darker side of the busi-
ness by going behind the scenes of the
and rock
sex, drugs,
Marc
brings
Forster
screen a story of how love conquers

families in the
all for
and exclusive
Simmons
begins with a gruesome execution scene
fall
in
Using interviews, photos,
the industry.
deep South. The film
to
lifestyle
roll
some of the best known musicians
of
the
to
'n'
reveal the crimes that influenced the
Monster's Ball (Lions Gate, Dec. 26).
two
'n
Secret,
with a spotlight on music. This documen-
Linklater's Tape.
Director
Rock
The
4).
and crime, continues
sports)
Richard
being
first
Dec.
pop culture (the Internet, movies, books,
in.
directs this psychological
and mouse
cat
which looks
someone
just
is
chance to do him
shot films done with the assistance of
Dec.
Pictures,
connection.
Secret History of
(Court TV,
Roll
if
the second in a series of digitally-
is
InDigEnt,
(Cowboy
Final
each other
TELEVISION
in Stanley Kubrick's
Bomb. Today the
Hank
that
it
for
ful-
1964 black comedy Dr. Strangelove:
How
fall
without knowing that they have
Cold War. The plane's main purpose was

to drop nuclear
would have
traces
inception at the start of the
its
to
pick up the pieces of their broken
the history of this intimidating aircraft
back to
dies in a hit
and run accident. While trying

lives, fate
The documentary
when he
out her son
B-52 (Big Sky Film, Dec. 5). Writer-director Hartmut Bitomsky's untold story of
the American B-52 bomber is particularly
apt these days.
without him, as well as with-
live
host
footage,
rare
bumpy
navigates the
Gene
route.
mandatory subject matter in Germany,
Teaching Tools from TV
and
is
on permanent
Museum.
Berlin Jewish
exhibit in the
AOL
228
devel-
is
!!,..
Although
it
seems
like
it
shouldn't be
oping a free downloadable package
\u
document
United
rducxioftll
much
of a challenge to use
documen-
classroom setting,
taries in a
always so easy.
For one
it's
thing,
not
not
every film gets the kind of attention
comes with funds

spread outreach plan and
that
for
wide-
the
to develop a
Academy Award
will
of Strangers: Stories of
Kindertransport,
in 2001,
is
have a
for
one of the
life
HBO
which won an
best documentary
special films that
beyond a
and even beyond a
on
tory
classes
in
America already
are
starting to use the film in their curricu-
way to teach tolerance.

Oppenheimer says, "I think
purpiwo
under
THIS
*.il. ihc approvil ol
pcnoni
the
cure
...
(.1
I'l
the
Inter-Aid
it
cr
out
O
o
o
would have been harder
theatrical run,
television premiere
on December 10 (check
local
if it
won
hadn't
to get
But the subject matter in

also plays a part in
its ability
beyond the screen. The

lives of children
live
who
it
kso\
\l
Se<
DWeolBinh
FZ-J*.
England to
with total strangers right before
World War
II.
archival footage
,.-,
i.
ul] \.iiik- ji.d
Through remarkable
and interviews with
the film shows
how
these
.h.ldnra
Vddre* ol Pjrenb
A passport
to
freedom
Germany going
for a Jewish child in
to England.
film follows the
fled to
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la as a
there
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his-
identity
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curriculum.
Into the
Some
about the kindertransports.
ni
Kingdom
nection to the kindertransports
mother was one

from Germany
stands
story
that,
her
of
those evacuated
but
she also under-
schoolchildren,
for
presents
particularly
this
potent
listings)
survivors,
Froducer Deborah Oppenheimer

and director Mark Jonathan Harris
have been able to develop a teaching
children grew to adults living in a for-
combination of
eign land but never forgot where they
still
came from or the sacrifices their families made so that they could survive.
Oppenheimer has a personal con-
been 60 years since it happened and

the world hasn't changed much."
guide and will be able to

the film available.
So
make
far,
copies of
the film
is
resonates
December 200
historical facts. "This
today,"
she
says.
"It-
THE INDEPENDENT
21
the days following the end of their tour.
Although
relatively
happens on-
little
on the
screen, Wilson's decision to focus
with stunning special effects."
second film, Magic City

documents the filmmaker's mis-
Wilson's
(2000),
ever-changing emotional dynamics be-
adventures in Moberly, Missouri
tween group members transforms what
cal
might have been, in
an uninspired
less
talented hands,
on the faux docu-
little riff
mentary into a thoroughly engaging
story
a typi-
American small town where the generation gap between longtime residents
and their children (and grandchildren)
seems more profound than ever. What is
a Do-it-yourself
about four people searching for happiness.
particularly refreshing about the project
media entrepreneur. What does that

mean, exactly? The 26-year-old Col-
Wilson cleverly employs visual cliches of
that
David Wilson
is
umbia, Missouri native
the co-founder
is
and manager of the Ragtag CinemaCafe,

a showcase of international and alternative
motion pictures and video; he
creator
is
life
in the
Midwest
to tell his story,
ing these familiar images
and wheat
oil wells,
fields)
imbu-
truck stops,
(e.g.,
with a person-
it
is
son clearly sympathizes with both the

frustrated despair of Moberly's youth
the comfortable apathy of
company
ing allows
media artists; and is

Columbia Media Resource Alliance,
and
adult popu-
understand-
him
a picture of
DIY
The
for
an organizer of
its
The
lation.
the
and director of Kinofist Image-
works, a distribution
is
decidedly nonjudgmental. Wil-
to craft
one turn-
Am-
of- the -century
town
which
the channels of com-
resource group for Missouri-based media-
munication between
makers.
groups have seemingly
"These
Wilson explains,
projects,"
"collectively
my
represent
create avenues for
erican
broken down.
and
that control, to maintain a

relationship with the
sell,
towns across the U.S.
more personal
Wilson's latest project
media that we make,
know
it
seems
make every day
Wyoming
playing to a living
whom my
45 kids in Twin
movie
Falls,
is
room
real
life,
I'd
work seems
is
punk band
Idaho, who've just
if
film,
Kansas
30-minute short about
travelling through
THE INDEPENDENT
insiders'
of
rural
American
sincere
life
charmingly
love letter to the highways of
Wilson began working on the film

a student at Hampshire
when he was
films or videos until
it
just before gradu-
making
got to college," he
explains.
"And even then everything
made was
pretty
experiment.
much
I'd try
aspect or idea and
Kansas in
December 2001
way
great
for
me
just like a science
and focus on a
work through
it,
single
letting
to
work without the
pressure of making something 'important,'
but
it
videos
resulted
namely,
in
calls
For his spring/summer 2001, 28-show
"PunkNotRock"
tour,
Wilson ingeniously
paired screenings of Magic City and other

short works with live music shows by local
bands.
DIY cinema is in
model of DrY music,
"For me, the future of
molding
to the
it
where filmmakers
will
actually traverse
the" country with their work, not just
Kansas and Missouri.
everything else just happen. This was a
particularly suited
first
an
view
ating in 1996. "I didn't really start
approach to distribution
and exhibition. His

Anymore,
22
Cagle
offer.
final result
College, and finished
and they couldn't have happened
Wilson's
can
or to
stuck to the festival circuit."
to this renegade
Wilson him-
of 12
come from the prom and are like, 'Yeah,

we feel trapped in our town, too.' Those
moments, for me, are why I made Magic
City,
L.
count, so,
I'll book 29 shows in 3 1 days in 25 cities.

To do that, I end up realizing that I need
a show between Salt Lake City and
Denver. And boom! I'm in Laramie,
kids for
is
Robert
screenings in two weeks," he says.
I've got to
oppressive pockets of America."
The
by
"one of the most culturally
he
westerner, such
self,
Magic City
subcultures in Branson, Missouri, a place
that only a Mid-
as
like
at best they're flying to five cities or doing,
perspective
al
David
Wilson
a lot of filmmakers travel
to screenings or festivals, but
like, six
docu-narrative
is
about similar youth
In addition to producing and exhibiting

work in the Columbia area, Wilson travels
around the country showing his own work
and films by other DIY artists in all types
of venues
most of them off the beaten
"But
have arisen in small
or buy."
track. "I
vari-
through
ours, and,
is
at
ous subcultures that
exhibition... to maintain
control over what
is,
umentary of the
to exist in
the Midwest, from production through to

distribution
It
the same time, a doc-
attempts to
DIY media
in
some
truly
awful
also playing basements and backyards and

community centers and music venues." he
says, adding, "Wanting to be a filmmaker
today
is
wanting to be a rock
like
years ago. Film

art
but
DIY
tle this star
created
it,
25
star cul-
gives us to tools to disman-
culture in the
punk rock did
star
the dominant popular
and provides the dominant
ture,
We
is
same way that
[with music] 25 years ago.

let's
take
it
over!"
Robert L. Cagle writes about media and
popular culture from Fisher,
Illinois.
a horribly painful inter-
pretation of Heiner Miiller's Medeaplay
on
the festival/college/museum circuit, but
To learn more
visit
www. ragtagfilm.com.
E)
(j^j-il.
Sherman Alexie may
be cursing, trying
video could also provide the potentially
the tavern for a
to ignore the sweat in his eyes as he focus-
extreme freedom of the aesthetic he wants
ning the tape.
es
on the
editing
machine
in front of him.
He's in the accidental tropics of the 911
Media Arts Center in Seattle, a zone burdened with equatorial humidity because
hot digital editing equipment is cooped up
with no ventilation. We run into one
another as
come down
from the roof above
where
suite,
to apply,
and may be the only way he can
launch into his vision of visual

Fancydancing
more
about "really
it's
falling apart in really stupid
The book prompted
the
New
rium
could
be
One
stands.
the
known
work was
We
now who
until
ing his inner asshole

teristic
a charac-
he seems noted
When
Alexie
is
tive-worthy task
my saw and
wants
first
his
an
exple-
lay
down
don't
Sherman
Alexie
"That's
says.
the film as a poem.

a
airless
box with
is
it,
is
also a
his editor,
Salem
major
tion the
voices of our
lyric
time."
The
film
actually emerging
is
the
story
the
in
room
editing
who
as
the
have become
characters
why
through the actors and
in this tight,
Holly Taylor,
board member of the 911
He
their improvisations.
selected a cast
principally comprised of amateurs
and was
open
anyone
suggestions
the
to
of
Alexie had
come
Taylor,
who
is
also
producer,
helped Alexie come up with $90,000 to

shoot the film himself,
DSR-500.
Why
go
The
to Taylor last year as a
digitally,
this route
on
when
Miramax, which released Chris
Sony
surely
Eyre's ver-
book Smoke Signals to

acclaim, would have put up some money/
Alexie adamantly wants freedom of
expression and that means freedom from
kowtowing to investors. "Digital video is
the only way brown people and women
sion of Alexie's
can afford to make movies," he
tells
me.
That's certainly one reason, hut digital
film also features the character's
becomes excited, like a

kid getting away with some social taboo,
when he remembers that sometimes the
poetry even emerges as text on the screen.
writings. Alexie
Alexie
tells
me
he
seeking a tempo
is
between the rhapsodic and the narrative,

a
mately
I've
in
move
daring dramatic
is
ulti-
about
Moon Tavern.
interviews,
american watering
internationally
Seattle's
artist
I
always
movie they
knew
would be
and says,
playground, the
set the
He
flexible," says Alexie.
He
moviemaking."
have pulled
grins
know anything about
don't
"I
tells
this off
me he
could not
with a professional
narrative filmmaker. Taylor usually
documentaries, and
this
is
her
makes
first
time
editing a fictional film.
Alexie's writings are mostly autobio-
stories shimmer with lyricism. It is no

wonder he wanted to abandon the
Sundance approach and crank up the
volume onscreen.
poetic
Fancydancing
celluloid
and
is
destined to
camera
in
make
it
to
theatrical release, perhaps in
February, Alexie says. But then he just

grins again:
he has no idea when
it
at
it
will
will
he
support
the box office, but he anticipates
mostly
it
endure on video
will
Signals did.
And
Salem
conducted almost no
and instead
are discovering. "I
order of the scenes
the
done and whether audiences
been applying nonlinear narrative
esteemed poet and

Blue
what
romantic comedy.
my documentary,
hole,
for
ing through the ease of digital manipula-
graphical and even his most traditional
involved in the production.
student in a basic video production work-
conditioner, Alexie
air
hover over computers and
still
monitors, unfolding, reiterating, rearrang-
Alexie discovers
by
center.
shop.
summer in 91 l's Avid editI've managed to cool off
which
Times Book Review to

deem him "one of the
in
editing
narrative
poem." This
is
who
Fancydancing
how
huddled so intently
Alexie
The Business of
terms of stan-
"I
to be obscure."
Later that
ing suite,
and poems,
I'm trying to think of
poem, but
want
and Taylor
Alexie
lin-
ear movie. Alexie emphasizes, however,
by installing an
in
arrow of
rigid
time that shoots through the standard
his
it
when sewn
that
than can be pulled off by the
The Business of Fancydancing, to

be more like a poem than a
story. "It's about a poet, so, you
zas,"
moments
He
think about
British
"always looking for the acci-
is
invite myself in.
stories
it."
improvisational
movie version of
book of
it;
he
If
together generate a meaning greater even
trying to break free
from linear narrative
too painful.
put a laugh right
"I'll
to
the
dents,"
discover that
says,
refers
he, too,
But
for.
what I'm really interested in is a

poet making a movie, because
that's who I am and what I'm
doing.
he
it,
may be
tilmmaker Mike Leigh and mentions that
reveal-
is
mulling
minutes
the general audience can take
if
He
trade jokes about whether
the ruckus I'm making
He
90 percent improvised. He's uncer-
is
uses
is
lasts eight
before and right after
really for.
screen
technique.
particular scene he
eight minutes
hadn't
my
over in Fancydancing
my
but
on
head and smiles that he under-
his
tain
skills,
in
a magical equilib-
arranged
Alexie in on
fill
and
construction
published
between the unknown and the known.
I'm
air.
decade ago
Northwest Screenwriter
proposed that
trading camera rental time for
holes to let out the hot
randomly run-
"The Alchemy of Screenwriting,"

I'd
nods
his editing
in
which
York
a ladder
been cutting
I've
article
titled
lyricism.
about a gay poet, but
says Alexie,
so,
smart Indians
ways."
is
an
full year,
is
that's just tine
as
Smoke
with him.
a multimedia artist in Seattle.
american watering hole mil play

at the Seattle
December 200
An Museum m
.'
THE INDEPENDENT
23
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JUJ.llJfc
r'
Fletcher has also been conduct-
HD's Missionaries
ing
Chicago's Digital Production Scene:

Fletcher of Chicago is an
equipment rental house with a
The Revolution Begins on Campus
BY
NADINE EKREK
purpose: to introduce filmmak-
and viewers
ers
in
one of the
undergraduate programs in the world, are
now among
Chicago's Columbia College film students,

largest
the
to get their
first
latest digital film technol-
and Simple, a thesis film by graduate student
Plain
ogy.
hands on the
Merrin Trantum,
will
he the
first
Columbia College project
to
to the joys of
it
needs to do more
just rent
equipment. So in
To do
than
so,
addition to carrying eight
now
Fletcher also offers a state-of-
beginning to be
the-art Dolby screening
used
specifically for
potential clients
George Lucas.
ers. "It's
"It's
becoming
work on Plain
HD
looks like in
and
it's
Simple will be a combination of live action
"Toon Town" sequence
the
and
and animation
Who
in
film, Plain
Killed
Roger
Rabbit?).
"The
film
is
90 percent animation, so we made the deci-
sion to do 24p because

offers," says
do,
it
Trantum. "To do
doesn't
35mm
make
all
the resolution that
HD
the compositing
we need
to
money
to shoot
on
sense to spend
and process when you're
medium
all
just
the
going to stay in a digital
anyway."
Although Trantum
is
found the transition to

ly
we need
accustomed
to
working on
HD specialist.
she
film,
screening room.
"One
of
the goals of this project was to
on film,"
went to Fletcher
and watched some clips of feature films on 24p, and it spun
my head around."
get back to shooting
he
says.
"But
the
In
it
seems to be a
because we don't have to change magazines and we
several
last
years,
The Windy City at 24

Frames Per Second
and one foot
foot in
in tape," says
don't have to worry about dealing with the processing after-
Chicago-based filmmaker Peter
wards."
Gilbert. "But what's really nice
In fact, Trantum's real challenge will
come
in the editing
room. According to Jose Marra, technical coordinator on the
crew plans to string together two
project, the postproduction
dozen
Mac G4s
to build a "render farm"
have enough memory
for the
30-minute
network
in order to
film's final
HD ren-
is
that for the
"If this
[the film]
We
works out," concludes Trantum, "we can point to

and say, 'Look. This is a film we did on our G4s at
used low-end machines to do quite a
animation and compositing.' There

films out there right
now
bit
of hefty
really aren't a lot of
[HD]
that have a lot of animation, so
we're sort of unique in that respect."
Nadme
Ekrek
is
a freelance writer based in
Ch U
tg(
first
time people that work in video

don't have to
about
make an excuse
it."
Gilbert
pick up most
15
commercial
spots in the last six
months were
(approximately
shot
on
24p), but that
even
ket,
"When
dents,
mar-
independents.
for
comes
just makes
it
it
from
o{ sense
an
it's
attractive option across the
indepen-
to
a helluva lot
economic
an
standpoint and a speed standstresses.
"From an
episodic standpoint,
with such
point,"
he
high shooting
The
the award-win-
ning
documentary
Dreams
is
also the
first
Hoop
person
to have shot a full commercial

campaign on 24p the Blue
Oval commercials tor Ford
Motors. "I mean, the fact that
Ford let me shoot their commercials on 24p is amazing.
the savings
ratios,
you make on tape stock

nomenal."
phe-
is
NE
We're talking cars here, so they

wouldn't have
let
me do it if the
picture quality didn't look fan-
film,
he adds.
not
"It's
like
but [24p
I'm giving up
is]
on
very useful for
the kinds of things that

elaborates Gilbert.
He
do,"
recently
shot a series of anti-tobacco ads

for the "Truth"
campaign and
currently working
mentary on the
should know.
man who made
dering.
home.
about [24p]
seen the
says he's
HD
recently in the commercial world
tastic,"
had one
"I've always
film
for
HD to be relatively painless. "It's real-
not that different," she admits. "Only that
lot faster
explains Kevin O'Connor,
after his experience in Fletcher's
O'Connor
its
Filmmaker Bob Hercules

switched from film to 24p for
his feature, The Last Frontier,
mately 30 undergraduates participating on the
(think
all
proven success-
Flether's
production and scholarship funds. With approxi-
at Fletcher
Chicago.
demand
who received par-
budget from the

college's
ful,"
The screening room
to
explains Trantum,
funding for
year.
room
HD
and show them
in
glory,
the film's $12,000
PHOTO COURTESY FILMMAKER
come
clients
what
tial
vention every
and filmmak-
for grad students
on HD,"
Association of Broadcasters con-
great to have potential
affordable
to shoot
at
showing
makers other than
more
Columbia College students

and Simple
film-
being at the National
HD
be shot with the 24p high- definition system, with cameras
by
HD the
promote
to
biggest
high-definition.
camera packages and training

anyone who rents them
that are just
seminars and demonstra-
tions
is
on a docuboys of the
lost
Sudan; he used 24p on both

projects.
"24p
is
a tool,"
he explains.
"I
don't think you should try to
equate
good
24p
it
with
tool tor
is
things.
good
You need
what works
ting your
December 2001
film.
some
Film
things,
tool
tor
i^
and
other
to think about
best tor
you
in gel
message out."
THE INDEPENDENT
\l
25
HREE YEARS AGO, THE ONLY THINGS THAT STOOD BETWEEN
make
Blaine Thurier and his goal to
were $5,000 and a

ence
er
minor
total lack of
a feature film
filmmaking experi-
obstacles as far as the aspiring filmmak-
Vancouver
to
pluck the film for their 2000 Perspective
to
Canada program. Months
would win the
later, it
SXSW
Best Narrative Feature at the 2001
award
jury
for
Film Festival in
Austin, Texas.
The
was concerned. "We're not powerless to do these
was received with both praise and loathing
film
at the fes-
garnered a tremendous amount of atten-
kinds of things," says Thurier, looking back at his
tivals.
experiences. "You don't have to be born into royalty to
tion, which is more than most $5,000 homemade feature films

can boast (not to mention many more costly indie features for
make movies."
The money which he
eventually
managed
to beg, borrow,
But either way,
CBC
The
that matter).
it
(Canada's national public broadcaster)
and scrape together went towards a first generation Canon

Optura digital camcorder, a cheap shotgun microphone, and a
Toronto in a documentary special called The Big Show. Variety's
Mac computer with Final Cut Pro.
Ken
more cash he
didn't
have
for a
Rather than shelling out even
filmmaking course, Thurier
just
barreled ahead, plumbing the shelves of the Vancouver Public

Library (his place of employment) for 'how-to' books.
of talented friends, a script based
In
on
comic
strip
With
a cast
he drew
for a
(Corinna
number
truly
paper,
and
a healthy disregard for
embrace and get away with) Thurier made

,
weekends over
glossier
"A warts-and-all ethic
it,
entertainments avoid." Barry
Johnson of the Austin Chronicle griped:

bias against video
think
(I
and Low Self-Esteem
it
own up
"I freely
almost uniformly looks
Girl doesn't
do anything
to
to a
like crap),
my
change
Low Self-Esteem Girl, a vulnerable

Hammond) gets seduced on a
most
traditional filmmaking rules (a luxury that only digital filmmak-
can
most
at
of fronts.
Vancouver underground
feature film, called
Eisner reviewed the film calling
that goes places
new filmmakers
Blaine Thurier's
woman
ers
profiled Thurier along with a handful of
Low
Self-Esteem Girl. Shot
his first
on evenings and
a nine -month period, the film centers
mind."
And Mark Olsen
of Film
Comment
raved that the film
Harmony Korine with the locaSlacker... the launch of a new voice." Taken
"Combines the hazy

tional specificity of
lyricism of
out of context, you might think they were contemplating a
Miramax
company
around the
whose excessive insecurities lead her to be both rabidly pursued by a demon-possessed Christian zealot and pimped without her knowledge by a
recent
either,
but
greedy pot dealer.
by
the hype, naturally Thurier's expectations for the film
character Lois (Corinna
Up
Hammond),
a girl
until this point, Thurier's experience
is
probably not that
acquisition (and yes, pre -Toronto, the
called Thurier, but no, they never called back).
The next
all
part of Thurier's story isn't necessarily unique
it's
the part you usually don't hear about. Swept up
escalated. "All the
me
companies called me," he
unique, given the current availability, popularity, and ease of use
all
of digital filmmaking tools.
He says, "In Vancouver, you can walk

and get a digital camera and a laptop and
you've got everything you need to make a feature film right
pany and how, 'We did
down
sell
there
to the drug store
ed that
it's
nowhere,
Low
mind
his
all
odd
boggling." But even he couldn't have anticipatlittle
at the
guerilla- style film
same
would go so
far
pitching
with
trailers
first.
Not only
"They
really love
"It's
keep hope
did the film play to four consecutive sold out screenings at
to
ing happened."
it
also attracted the attention of
Festival
26
Toronto International Film
programmers Stacy Donen and
THE INDEPENDENT
Liz
December 2001
Czach.
The
pair flew
name
and
recalls.
me
"They were
about their com-
not a film that we can
it's
stars, but,
for you'... All this
we
did this film and
we
was before they'd seen
you
Which
alive.
for the first
few days of the
festival,"
their job, they've got to track everybody.
tried to be realistic, but
Vancouver's prime microcinema, the Blinding Light!!! Cinema,

but
this film,
big
telling
[my] film."
he continues.
Self-Esteem Girl did exceptionally well at
and
might have a place
and
time.
me down,
sitting
But
you can't be too
it
realistic
you've got
was pretty heartbreaking when noth-
raises the question: Just
how much
well-written, well-edited digital film with
potential can a
dodgy production
val-
unknown cast have beyond the festival circuit? Is

no room on the mainstream market beyond
some kind of self distribution for a film like Low Self-Esteem Girll
do
he
says, estimating that the
ues and an
to
there absolutely
[$500,000 to $2 million-plus].
Thurier's answer
simple and harshly pragmatic: "There are for-
is
mulaic constraints even in the world of indie film," he says. "You

can't fuck with the audience's expectations too
expect them to accept
He
digital
much and
still
no matter how
fast
technology gets, there will always be this gap, because
people with decades of business savvy and billions of dollars at
have a bigger
lure
more
bells
and whistles
up
squarely focused
still
career in filmmaking (although for now, he's
time at the library)
For that reason he
of the market's demands.
Making
a film
is
on
still
on
working part-
more aware than ever

his
own, he
says,
"was
fun way to work. .Coming from the world of comics where you
.
do the costume design, you do the editing and when you're drawing,
for the event)
reports that he's
you act out those characters
new
about his intriguing
project
According to Thurier, the key to

a really good, established
I've
admired
few months
kinda had the idea of being
ter
called
now and
Vancouver.
he
The
ities
best comics are like that too." But Thurier does recognize
new
territory of
some major compromises. For one
filmmaking he must make
thing,
"I'll
have to learn to be
patient," he admits.
scale of his
are
will increase too, requiring a bigger
much
were available to him
is
higher quality digital options than
for his first film. "I
want
to see
what
it's
like to do something that looks good, something theatrical

want that challenge," he says, adding that no matter what format he chooses, "It's going to look a lot better than the output
for
It
Love You
ESL
Love You Game]
and some incidents that
Game
will
cen-
students living in
two years
met
seems
in Japan,
and
in
a lot of people and stayed
like
noticed this
I've
everybody
who comes
am
inspired by
eccentric and
all totally
a story based
is
on some personal-
And
I've witnessed.
not a movie about issues by any means,
also,
while
it's
about the horrible,
its
horrible exploitation of these kids that's going on."
But while bigger projects
work
crew and more attention to production values. Right now he

currently exploring
[I
for a
under our noses here in Vancouver
just fascinating characters.
Canada
he explains. "[Since then]
these kids.
that to enter into this
and worked
entire world of people living
to stay in
be
I'm talking to
"We've been talking
says.
of some Japanese
learning to speak the language

friends with them,"
now
get along really well."
lives
"I lived
Love You Game.
this project's success will
independent production company that
for a long time,"
around the
the complete composer of that film. Every single detail was mine.
The
been hearing "some genuinely encourag-
Currently in the script rewrite stage,

efforts are
bit
festival this
ing things" (as opposed to the "bullshit" he was dealt last year)
Anniversary Party."
Undaunted, Thurier's
Toronto
have any business cards made
didn't
still
range from
will
from the year before
picture
different
distinctly
at the
working with the right kind of people. "Right
to get people in the movie theater than the lone digital filmmaker can have. The gap may narrow briefly, but they'll find a
way... You've got your Pearl Harbor and you've got your
(although, this year he
He
adds, "I also believe that
their disposal will
year
budget
caught him schmoozing a
around the Rogers Industry Center
it."
and cheap
it,"
altogether and
friends in the
is
meantime.
DVD
about the future of

makers.
big. It
"I
think
DVDs
could become
Love You
Game loom on
to
abandon
guerilla
like
no plans
working on
horizon, Thurier has
He
and
new
project to start with his
also has
its
some
interesting ideas
relationship to guerilla film-
are going to get really
like in
the
filmmaking
cheap and
really
the 70s and 80s, with indie bands
trading tapes... filmmakers could start trading their
DVDs."
of a one-chip camera."
More
Sarah Keenlyside
importantly, his current project will require a great deal
more financing and therefore more wheeling and dealing with

outside interests. "For
my
next film
I'll
have
a fair hit of
money
based
to
in
is
a freelance writer and
Vancouver, Canada. She
is
makeup
artist
a frequent contributor
RcdlScrccn \[agaync. indieW'lRH. and Playback Magazine.
December _\Y1
THE INDEPENDENT
27
NS
R
The Dallas suburb of

and
Hollywood,
the
Texas is awfully far from

3-D animation house, DNA
Irving,
local
Productions, ain't exactly Pixar
But
yet.
compa-
after this little
which has been making shorts and educational films since

1987 while it climbed up the ladder, launches Nickelodeon's big
ny,
animated movie
this holiday season,
could be as big as that
it
endless Texas sky.
Jimmy Neutron: Boy Genius, and thanks to

the marketing expertise of partners Nickelodeon Studios and
Steve Oedekerk's O Entertainment, not to mention Paramount
The
film
called
is
Pictures, the film will arrive in theaters
December
21, with
Was Jimmy Neutron one
An
JOHN:
of your animated shorts?
early version of him.
my
wrote the original idea in 1993,
it until we
3-D
animation. First Jimmy was named Albert Goddard, then he
became Johnny Quasar. We did a little forty-second piece we
entered into some contests at SIGGRAPH in 1995. It won a
couple of awards and got written up in a magazine.
but some of
notes date back to the 80s.
started getting into
stuff
shelved
stop motion and computer
an
audience of loyal Jimmy fans already hooked.

This
not an overnight success
is
story.
founders John Davis and Keith Alcorn have
DNA
For years,
made do with
porate and commercial animation projects that paid the
cor-
so
bills
Not
they could develop independent projects in their spare time.
of these are of the wholesome kiddie variety, however.
all
Nanna and
Puss Puss, which have
on Showtime, Comedy Central, and MTV, is a particular
series of
aired
2-D
shorts called
lil'
scatological cult favorite.
The day The
Independent stopped by to
studio in Irving, there were over a
DNA's
bustling
A maze of work spaces have been turned into
computers.
at their
visit
hundred animators hunched
primal jungle scenes or the dark intimacy of deep space.
The
ani-
mators were either oblivious or hospitable (one offered a piece of
candy from
An animator
at
work
at
DNA headquarters.
his stash).
one computer screen, an animator was tweaking Jimmy's

chocolate soft- serve hairdo. A few feet away, another one stud-
When
on
KEITH:
On
ied the three-dimensional
model of Jimmy's dog, rotating
it
screen with the click of a button. Other animators worked on

lighting, special effects, or texturing.
thumbtack on the bulletin board
Every strand of
in Jimmy's
hair,
every
bedroom, every
blast
you guys were growing up, what cartoon characters
influenced you?
When
toons.
was a
kid,
liked everything
responded to simply-animated car-
Tex Avery
did.
liked Droopy.
also
Dudley DoRight.
liked
JOHN:
When
was writing the
pilot,
went back and looked at

Anderson's shows like
Gerry
of exhaust from Jimmy's rocket gets the same detailed attention.
the
And
Thunderbirds and Stingray and the old supermarionation shows,
Davis and Alcorn are always lurking around.
the
stuff
takes
life like
up
all
of your time now, obviously, but what was
company here
started
DNA in 1987. We'd been working for a
in Dallas that
could either leave town or

animation.
We
went out of business.
we could
start
would do our own entertainment

It
it
was
also
our
worked out of a duplex the
mercial/corporate work, that kind of
but
stuff.
shorts.
an expression of what we
It
own
We
figured
vision, in particular,
had
One
doing com-
But, after hours,
was a creative
really
was using a
a reason for
doing
it,
lot
wanted
we
outlet,
to be doing.
tele-
of animated shorts, so
besides just our
we
sci-fi
really liked,
things
used
and which got translated into

all
kinds of cool
content, secret passages; devices that let you walk on the
ceiling.
own
we
yuks.
Is
Jimmy
a nerd?
JOHN: No, he's too mischievous to be
Animators at DNA work on computers with 3-D modeling programs that can
take a physical model and digitize it. Then they can dress and manipulate the
Jimmy's range
of
movement
is
plotted as vectors on a graph.
He
doesn't wear a
Keith: He's like the shortest kid in his class, but he's pretty average. He's not the stereotypical
stiff,
geeky
kid.
JOHN: Well, he can go into "science boy" mode from time to time.
KEITH: But he's so excited about science that he makes
He
you do
this
and then you do
gets so jazzed by
it
that
it
this ..."
charming. But,
it's
first
and
faults,
but he's got
immense power, which
this
problem, even
if it's
is
his
mind. So,
just a kid-like prob-
lem, he thinks of these crazy solutions that are way overdone,
over the top. Since he's a kid, he has a short attention span.
Bottom
left:
Bottom
right:
Animators add appendages to Jimmy's body
When
all
the data
Is in,
Jimmy's a
real boy.
...
fun and
foremost, he's a normal kid. He's got normal kid drives and
when he encounters
pieces.
a nerd.
pocket protector. He's cooler than that.
cool. "First
left:
thing
the script for Jimmy, were the devices. There are
JOHN:
Top
kid
business doing
first year,
turned out there was a market for animated shorts. Cable
actually
as
gadgets and cool vehicles and action scenes with vehicles and
before?
JOHN: Keith and
liked
Toho Godzilla movies, and other cartoons and
to watch.
Jimmy
gets impatient
and
he'll
round
off a few
numbers or take
He
a short
cut that ultimately blows up in his face.
LVcemher \Y1
THE INDEPENDENT
29
In 3-D animation, everything's done on the comput-
and
er,
productions you've worked on seem
yet, the
some of the more
very "cartoony," compared to
CGI
istic
movies we've seen
JOHN: Unlike a
lot of
other
CGI
looking at photo-realism
they're striving for
real-
lately.
studios, we're not really
What
Fantasy).
Final
(like
completely different than what
is
we're looking to do, not only in terms of story, but the
way they use the

reality as they
Animation
doing
tools.
can
They're trying to come as close to
get,
about
isn't
We
live action.
but for
not interesting.
us, that's
They might as well be

stuff that's more stylized
reality.
like
photo-surreal.
That's what's interesting about creating

tion. It looks like
it
could be
real,
3-D anima-
with the natural
light-
and everything that

gives you that sense of depth. But, then you mix that up
with something you know can't possibly be real images
that are cartoony and fun, with exaggerated features.
They look more traditionally cartoon-like.
ing and shadows and reflections
John Davis and Keith Alcorn ponder the future of Jimmy Neutron.
When
did Nickelodeon
JOHN: The
in the
fall
first
when we
finally
ing that time,
we took it was Nickelodeon and that was

They liked it and wanted to take it to the next
the next step was actually about two years later
received the green light for the project. So dur-
we were
still
doing our corporate and commercial
work, but we'd started doing more
Oedekirk and ABC, and
Olive,
the
TV
work, too, for Steve
Other Reindeer for Matt
Groening. Those projects gave us a chance to
and develop some
try different styles
different techniques with the
CGI.
we got the go-ahead to do a pilot about

Jimmy. A few days after we sent it off, Nickelodeon called us and
all the big guys flew out. We met and they introduced the idea
During
this time,
of a feature film right away.

ture
roll
first,
was decided that we'd do a
It
fea-
then take the assets we'd created with the feature and
that into this really great television series.
Of
was backwards from the way they'd done things
With Doug or
Rugrats, for example, they built
with the series and then
when
the fact that
To create
among
first
and the
into this instant franchise.
miss not having time to draw?
a very
done, you've got
all
have a drawing table in
And
each of the
inter-
game
that
ters
in
down
the road.
really enjoy
obviously,
formers of that caliber, they bring a lot to
December 2001
it.
when you have
per-
Sometimes, there's
office, so
sometimes
and watch the
do miss not having
as
much
working with the animators.

dailies
and
talk about
I'll
take
time to draw,
And we do come
how we
could plus them
so we try to
makes
work out a lot of problems and performance issues in here, every
day, and have it ready for John to see.
JOHN: Keith and I have always worked well together. We both
direct and we've always done our own pet projects after hours.
out. John's the final stop before a scene
One
of Keith's long-running pet projects
Puss, a series of cartoons
And
my
and draw something. I'm always thinking of new characand sometimes I'll doodle something, knowing maybe we'll
was the movie influenced by the actors who provided
THE INDEPENDENT
It's
scruti-
a break
it
KEITH: Patrick Stewart and Martin Short are two of the actors
30
you're
KEITH:
but
the voices?
this project.
when
Do you
interstitial shorts that
has a corresponding Jimmy Neutron online
who worked on
such a creative process.
sculpting.
something that looks good.
use
viewers can play at www.jimmyneutron.com.
How
is
You add a piece. You take away. You

what you've got. You make another change. It's
little like
audience,
would air on the network. Each interstitial is one or two minutes

and shows Jimmy in a funny situation. From there, it sort of
stitials
our time.
all
organic process. Hopefully,
target
their
Nickelodeon decided we should create
mushroomed
takes
KEITH: Making an animated film
that was successful, they devel-
you were doing the feature
interest
them.
that the studio's gotten so busy, how much time do the

two of you have, personally, to create animation?
JOHN: Both of us have now entered the arena of directing projects and it doesn't leave much time for hands-on animation. I
still get some of that creative time. I'll jump into some sequences,
not to animate, but to do layout or do things with the camera.
Or, I'll monkey around a little bit to try and figure out a scene.
But, mostly I have to direct others. And Keith's the same way.
He's always working with the animators, directing them and that
nize
up their audience
script in front of
Now
course, this
television series second affect the marketing of the movie?
KEITH:
dimension beyond what's on the
in the past.
oped the movie.
How did
moment that doesn't exist on paper, but the voice talent bring
much with their own improvisation. They give the characters
so
place
of '95.
Of course,
step.
become involved?
became
it in,
is
Nanna
about an old lady and her
a feature project, then Keith
would
direct
dle other responsibilities. We're both filmmakers
most.
And
then,
we both
feel
comfortable
filling
&
Lil'
Puss
cat. If that
and
first
I'd
han-
and
fore-
whatever other
shoes we're required to
whether
fill,
it's
working with animators
They'll enjoy taking their kids to see Jimmy.
It's
or dealing with the press or whatever.
And
What
You've got the kids rescuing their parents...
has been the biggest surprise you've experienced creat-
a smart movie.
the kids are really the heroes of this movie.
ing a full-length animated movie?
KEITH: Yes, but not right away. You'll notice that they kind of
JOHN: Definitely the way the "machine" works, in terms of deal-
hang out and party
ing with the studio and the politics.
on
guys in Dallas working
cartoons.
incredible. For a long time,
was
it
we added a few people and

denly we were 30 people. And
We've always
To get
been two
just
into this arena
so
is
Keith and myself. Then,
just
Then, sud-
that lasted for awhile.
that was like
"Wow, 30 people!"
Now, we're at like 150 people, so we've got to deal with all the
management responsibilities. We're accustomed to it now, but
that transition was tricky in the beginning.
I mean, this is the first feature I've ever worked on, but I'm
writer, producer and director, so there's a lot you have to learn
and fast. So, just dealing with the studio has been a real education, seeing how the business of making movies works. There are
G-rated way.
If
for a while first
of
course, in a completely
parents suddenly disappeared for
these kids would go berserk!
And
you know
real,
there would be widespread
mayhem...
JOHN: All the things we couldn't show!
KEITH: Eventually, the kids sort of realize they need the parents;
become victims of too much freedom. They realize, "Oh my

we need boundaries. We have to go get the parents back!"
they
gosh,
Any
thoughts about a sequel?
JOHN:
It's
crossed
one works.
my
Of course, we have
mind.
concepts that
I've got
to see
how
this
think would be fun for a
sequel.
Another project that you wrote and directed, Santa vs. The
Snowman, is being released as a 3-D Imax film this holiday
season,
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JOHN: Yeah. Santa
IHl
1997, so our
tl'Vlt^
VI"+$
] i
i-
that a coincidence?
is
vs. The Snowman first aired on ABC in

work on that is done. Steve Oedekerk is heading
that up from his facility and he calls periodically to keep us in
'
'
fl
,
'
the loop.
two big holiday features
So, you'll have
in theatres
this
December...
JOHN:
It
really
Most of the
is
kind of wild.
It still
seem
doesn't
real at times.
and
time, we're working, working, working, working,
we're very focused. Then, occasionally something like this will
happen, and someone

At
DNA headquarters
in Irving,
Texas,
Jimmy
everywhere
is
in
we'll see
every way.
an
KEITH: Most of the time,

really think
other people to please now.
It's
not just ourselves.
And
some-
know that some people are on the fence about something and we have to go in and make our case for why we believe
things should be a certain way. Sometimes, we win those arguments. Sometimes, we don't. And that's part of the process. Of
times, we'll
course, sometimes,
professionals.
"Wow,
it
really helps that
You hear one of
that's a really
you have input from other
their suggestions
good point. You're
and you're
like,
middle of it
it
JOHN:
buzz,
me an
target audience.
n't
And that
much
otherwise pay as
the movie would be
full
helps
them
attention
of
all
to focus
to. If it
the music
really
on
know
areas
their
would-
specifically, is
JOHN: Jimmy
really like
but, I'm
Nickelodeon audience.
is
there's a lot of
both younger and older viewers.
in the
gets over-
And when you're
right in the
also distracting.
great, but
you don't want
good that we're
to
make
If I sit
it
more than
in Dallas.
We're not part of the whole
whenever we go out there,

that everybody knows about the project and
the industry
stuff.
basis, so
to be able to
So,
And
being here,
we
hop
in
studio that
work
it
was
it
is
real-
they're
don't hear that
we're sort of insulated, which
on
nice.
It's
and out of that and do the work here.
we convinced
the
in the best interests of everybody to keep the
here.
So you're committed
movie that adults
to staying out of
Hollywood and
in the
Dallas area?
the line,
could see us maybe having a
Los Angeles. But, we're going to build our
targeted to the "tweenagers," 8-13 years, but
humor
it
JOHN: We're absolutely committed to staying here. Although,
Jimmy's target audience?
definitely expect to pull
and
it.
the stuff that's going on,
fought to keep the production here and
down
Who,
surreal.
were only up to me,
not the target audience. So, the music in the movie has been
carefully selected to appeal to the
it's
it's
interested and excited.
We
example.
JOHN: For example, in Nickelodeon's case, they
It's
all
ly hits us
good
Give
all
it's
not to think about
try
should be. We're just trying to do really good work.
day-to-day
right."
about
And
whelming.
be here asking questions and then
will
about us and
article
satellite
little
operation
empire here
in
tir>t.
we
think
will appreciate.
Denise Getson
is
a freelance writer based in Dallas.
For nunc in/oniuitioii about D\'.A ProJuaiims

see
Decembei
www.dnaheUx.com.
THE INDEPENDENT
31
13+21
The merger
of
WNET and WLIW may signal the future of PBS
by Shelley Gabert
ONE
WAY YOU LOOK AT IT, NEW YORK IS ON ITS

way down the ladder from being the most
PBS market
diverse
in the country to being a
boring one-PBS town. Or,
if
you're the opti-
mistic type, you could say that the business
operations merger of Manhattan's
(Channel 13) and Long

is
the
model
for
Island's
how PBS
WLIW
stations across the country are going
No
first-of-its-kind-deal
largest
and fourth
between these public
largest, respectively
matter what,
television giants
will set a
off the signals we've
this
the
precedent that
for
into a joint operating agreement but
same
still
city enter
publish separately.
People in the community always worry about the hit diversity
1,
2006
for the
the process, there are
still
well under a million
million in this country that have the goods
Only
ly
mostly because the equipment
to be precise
in the
is
so
little
programming
ready. This
is
because there
WNET
PBS
so
is
little
We're almost out of two-newspaper towns.
math of
Sept. 11, however,
dot our landscape? Just
like
expensive to do anything
else.
It
can cost up
tower to transmit
to
to the
with newspapers,
$10 million
And
THE INDEPENDENT
may be
it
too
to convert a station's broadcast
(DTV) and
all
then
of
it
costs to run a regular analog station
32
stations that
and
its
millions
projects in
more
HDTV
to
or a
can double basic operating
and
December 2001
shadow
digital
one
at
and
It
WNET president
back up to speed. The

both the
started
Bill
its
it
suspended
could take a year to get
station's ultra high-tech digital plant
New
York stations
is
for
lost their sig-
Baker doesn't even know yet what part insurance
WNET
and
and analog operations was toppled (transmitter
cover and where
But
in July. In the after-
digital operations are
were not affected, but the transmission tower
digital
it.
stations to
Baker says
personnel died, and most other

nals too)
up and
and
so expensive
make the investment

broadcasting on Channel 61 from
one of those public
digital studio
digital television
switch over a station to filming

similar- quality format.
346 PBS
is
is
audience out there to receive
on top of the World Trade Center
happen
so expensive
stations are
mostly because the equipment
a tower
that what's going to
is
a fraction of the country's 1,300 broadcasters are current-
sending out digital signals; only 38
in digital television.
Is
homes out of 100
well under 100,000
available to entice people.
How long can either paper maintain editorial independence? How long can the smaller unit last without being compromised? And the answer, unfortunately, has been not long.
takes.
was
the right kind of receiver to get digital television. Five years into
because there
when two newspapers
it
Act of 1996, Congress set the

work to be complete, and
85 percent of the country to have the right kind of TV and
could dramatically change the public television landscape in the
This sort of transition has been taking place for years in the
to deliver television since
In the Telecommunications
magic date of January
next several years.
publishing world,
been using
invented.
WNET
(Channel 21) in August
to survive in the digital age of television.
the same time. This is what's happening now in this time

between when stations are supposed to be getting up to speed on
digital and when the final switch is going to be flipped that shuts
will
WNET will get the money to rebuild.

infused with the same kind of fighting spirit as
to decide
two
whether those
two
staffs,
to the
sets of
dollars will go to redundant resources,

equipment or whether the dollars will go
enhancement of services. We think WLIW made a wise

Wayne Godwin, executive vice president of mem-
decision," says
ber
affairs at
And
so
PBS.
now WNET's
and
stations
and
facility,
The Educational
parent company,
Broadcasting Corporation (EBC),
hold the license of both
will
allow the two to share equipment, a master
will
staff to bring their
audiences the wonders of
digital.
(Baker says, however, that they will most likely not end up sharing a transmission tower because of geography.)
The
HDTV broadcasts coming out of these facilities will show
viewers clear images of almost three-dimensional quality in a
wide-screen, high-resolution format with compact-disc quality
sound. In addition, the expanded bandwidth of digital transmission will allow stations greater flexibility to offer viewers multi-
same lines like HBO and Discovery's

on cable television offer multiple versions of their
products. While HDTV right now takes up most of the "pipe,"
ple channels over the

digital tiers
as the allotted
segment of bandwidth
choose to offer
HDTV
day
split
PBS
is
and
in primetime,
called, a station
can
at other times of the
the signal into four parts.
new multicast services,

PBS KIDS, which some digital cable systems carry
now, and PBS YOU, which was developed two years ago as a lifehas already developed several
including
long learning service offering tele-courses, educational materi-
the rest of
New York,
and Baker has no doubt the station
will
he
hack up to speed before long and the long-awaited transition to

digital television will
proceed apace. "One way or another we're
He bought
going to get this done," he says.

before the Sept.
1 1
his
own
digital set-up
two years earlier), and says, "I'm having

more damn fun than I ever had. I think this is going to pop really fast. Even in recessionary times, people will buy it."
But with so many rebuilding responsibilities and impending
budget crunches, will the government be able to help this time
already
digital.
Some state governments, like Connecticut's, have

put money on the table to help PBS stations convert to
The federal government has expected stations both
commercial and public
to find
ways to pay
for the
digital
upgrades largely on their own. Congress recently approved $20

million in funding to offset the estimated total cost of the digital
conversion of $1.8 billion dollars for
all
of the country's stations,
but with budget surplus projections shrinking daily and
pledged elsewhere, that funding
may
will cost
initially,
conversion through a capital fundraising cam-
paign directed at large philanthropic donors and institutions.
Facing a cost of $ 1
million to convert to digital, with a yearly
operating budget between $10 and $11 million,

that
WLIW had
"When
to consider
you see how
its
difficult
it
was obvious
options. Thus, the merger.

it is
amount of that content
"We
always see
TV as it
to be broadcast
is
HDTV, and
"Finally the
is
on
air.
we move into digital,

more programming, for
online in terms of interactivity," says Godwin.
education and
is
more than
convergence that we've been talking about
here and there are so
television
sites for
today, but as
there's just a wealth of opportunity for
human
many
for years
applications for public service,
enrichment. We're delighted that public
at the forefront of all of this."
AT
THE GROUND
WNET
and
LEVEL,
WLIW
THE MANAGERS OF
think that the digital
and the merger
transition
is
about content.
Free up their cash from big equipment costs
money
even more now to get back to where they were.

its
tain
Web
Digital television will eventually allow a cer-
and they can spend more of it on programming.
transformation alone, which cost $30 million dollars
WNET funded
450 PBS programs.
evaporate.
You can see how the government's promised contribution

seems almost insignificant when compared to WNET's digital
and
programming, and features companion
attacks (spending $2,400 for a system his sta-
tion paid $8,000 for
around?
als, and programming. Two new strategic partners are set to

come on board to provide new materials and resources.
In addition, PBS Online (www.PBS.org) produces original Web
to raise the dollars,
you have
"This merger
is
groundbreaking historic move,"
Cass, president and general
manager
of
WLIW.
lys
ferrel
"This merger
will
on raising money for operations, which

means reducing the amount of airtime for pledge drives, and
more on providing enhanced services to the community," Ik- adds.
"I see this merger as a programming opportunity," says Paula
Kerger, vice president and station manager tor Thirteen/WNET.
"In the past when we had an incredible >cries or show, we could
allow us to focus less
only schedule
it
a few times.
time, then a midnight run,
might run
ii
once during prime
and then sometimes over
December 2001
weekend
THE INDEPENDENT
33
Now, we can schedule multiple plays of these

which gives our viewers more of an opportunity to see the shows. Not only can we promote programs of
like content running on both stations to increase audiences, but
we can offer more exposure to public broadcasting."
and then
gone.
it's
financial pressure than ever before.
incredible programs,
WNET
one of the key program providers

bringing such acclaimed series as
sion,
Great
Nature,
and Charlie Rose, as well as

numerous award-winning documentaries. Its local productions
include The New York Walking Tours and Reel New York. WLIW
is also a resource to national public television stations and distributes live daily broadcasts of BBC World News and is a producer of a series of PBS specials that focus on the diversity and
Perjormances, American Masters,
ethnicity of America.
Kerger sees these two great separate institutions coming
that's
television critic at
the
New
and describes
a terrible event
is
Mark Schubin,
weekly
WNET
TV guy in sheep's
"commercial
says
fronts.
York metro area, compares the merger to a
birthright
"This
many
Marvin Kitman, the

Newsday, the paper serving Long Island and
not the feeling from
memo on
clothing."'
and I'm very sorry
TV
a digital
sell-off of a
President William Baker as a
to see
it
occurring,"
expert and the author of a
the transition for www.digitaltelevision.com.
a continuation of the diminution of diversity and competi-
"It's
tion in the
New
tions in the area
Schubin
York market. We've already
and now we're
referring to losing
is
31) in 1995, and
WNJM
two PBS
WYNC
Manhattan's
New
in
lost
sta-
losing a third."
(Channel
WLIW,
Jersey. Like
both of
to the plate
WNET
With
new
part of the deal,
each year
lion
WLIW
of
WNET's
parent
programming
is
for
make programming
But
critics
lion per year, while
viewers in the
WNET's
weekly audience
New York, New Jersey and the
is
four million
the innovator and
To do
that,
some
public television
increase, competition
is
not increasing and
kets will be left with only
channels that counts,

"[It's like]
tion that
at
it's
do with
to
this
merger
may
is
that matters.
CNN
anymore,"
that the two sta-
somewhat naive
immune from
denying that. But they do cau-
to think that public television
the financial pressures and competi-
Even before the
digital
mandate, other smaller public television stations
start-
KTSC in Pueblo,
KYVE in Yakima,
ed merging with larger stations, including
Colorado with Denver's

Washington, with KCTS in
KRMA,
and
Seattle. Granted,
each of these
sets
of stations were located in different viewing areas, and the smaller stations
34
were facing dissolution anyway, but now,
THE INDEPENDENT
December 2001
there's
more
to merge, while others will
strategy a public station
smarter. We're
For
stations. For
partnering with a
is
CBS
decide to share equipment or a master
Whatever
us, a
all
example, the
facility.
embarks on,
be looking to see
will
trying to figure out
how
how
there's
as
local story right
now.
And
do business
and vital.
to
to stay alive
them," Kerger
viewers in
no
an experi-
merger made the most sense, but other stations

for
PBS
and others
affiliate,
WNET/WLIW merger will serve
have to do what's right
will
says. " I see this as
New
York and the sur-
We have remained focused

programming and the outcome of this
rounding area shouldn't be worried.
on
public service and
merger
is
tive nature of the television industry.
television
television mar-
not the number of
money."
WLIW or WNET
could remain
many
It's
number of owners
"The function of
tions will save a lot of
one
the
Ted Turner has nothing
says Schubin.
No
it's
one PBS voice.
way
to continue to lead the
may have
and commercial
station in Bismarck
ment. "All PBS stations

its
television," Cass says. "Public television
stations
each
already underway, and despite
Also stipu-
Island.
sold,
WNET will eliminate WLIW's ability to
makes sense
it
question that the
is
not be
will
seek out both informal and formal collaborations between other
Connecticut metro
year.
mil-
more provocative fare, like the BBC series Father Ted, which
is more off-color than most PBS fare, or soap operas like the
BBC's Eastenders and Ballykissangel. But Kerger stresses that
these differences in programming are what give each station its
own identity. WLIW runs BBC World News and Irish News
Service, whereas WNET runs ITN, and there will be no efforts
to change those differences. She stresses that with a bigger programming shelf, there will be a need for more programming.
Over on the national PBS side, they think digital technology
will finally allow public TV to meet its mission set years ago.
"In order to live up to our mission, we have to provide better
public television programming to offset the mindless game
shows, reality programming and sitcoms that will continue to be
area and the station's fundraising efforts generate $34 million
"The merger epidemic
$700
will invest
production and promotion
air
smaller stations, these overlappers serve as competition, drawing
for instance, attracts
has some
concerned. As
decisions.
worry that
in this digital conversion."
WLIW,
WLIW
is
and about Long
WLIW
that
lap stations operating in 18 cities across the country. Usually
approximately 1.8 million viewers each week and raises $5 mil-
governments
and that each

station will retain its distinct public identity. Although it's too
early to tell exactly how the stations will be programmed, Kerger
says that each station will have a separate editorial board to
lated in the deal
is
the largest station in the market.
company
for five years into the
produced by commercial
fundraising dollars away from
government
local
and
where programming
the same geographical viewing area. Currently there are 44 over-
amount of
digital broadcast,
federal
at bat, however, Kerger says
options, especially
those stations were considered "overlap" stations, which serve
viewers and a modest
The
haven't either," says Kerger.
together as a benefit to viewers and a plus for public television.
But
up
hasn't really stepped
for public televi-
is
daunting proposition to convert to
"It's
especially in such a short time period.
will
"This
rid of
be two distinct
isn't like
PBS
stations."
two gas stations merging and suddenly you get
one of them. We're not losing a
advantage of cost efficiencies but we
on the
air,"
says Cass.
He
is
more and more programming competition

and
find
will take
is
television
providing more and more chan-
the commercial and cable television arena.

doesn't react to this,
We
have two stations
thinks a far bigger issue
changing in general. "Digital

nels,
station.
will still
more ways
to
If
for the
viewer in
public television
draw viewers, we're
not going to survive."

Shelley
Gabert
is
a freelance writer based in
St. Louis.
MmgASharPQiMAif
by Jeffrey Chester and Gary O. Larson
NOW YOU
SEE
IT,
NOW YOU
DON'T.
FOR A WHILE,
IT
SEEMED AS
IF
economy would no longer apply with digital television (DTV) on the horizon and broadband Internet
poised to become the on-line onramp of choice for millions of
the old, scarce media
households. Independents clamoring to have their voices heard
DTV to open up hundreds of new channels. Cable
could look to
systems would expand accordingly with
new
interactive fea-
Spectrum
Politics:
Bandwidth Bait and Switch
TV
In 1996, each of the nation's 1,600-plus
MHz of additional spectrum
stations
were lent 6
what they already had for

their existing analog broadcasts) for the purpose of making the
transition to digital transmission. The deal was a good one for
broadcasters (free use of spectrum worth upwards of $70 billion
at the time, perhaps as much as $300 billion now), and they
(equal to
tures,
and the World Wide Web, no longer merely a static, textdriven bulletin board, would blossom into a thriving repository
wouldn't have to surrender their old, analog spectrum until the
of streaming audio and video.
for 2006,
And
thing.
the
then stark
and only
air
controlled.
there
reality reared its ugly
Now more than ever it seems like
is
head and spoiled everythere
is
less diversity
on
a few sources of information that are tightly
transition to DTV has been painfully slow, and

no guarantee that any of the new channels that
The
still
multicast digital transmission (including those of public broadcasters)
will
Most
fare.
digital
be devoted to noncommercial and independent
cable systems have been upgraded to
out to be as closed and controlled as cable operations have

always been.
And
while the
Web
has become a lot more color-
and flashy, its traffic patterns have begun

more like those of network television, with a
giants
(AOL Time
more and
to look
similar handful of
Warner, Yahoo, and Microsoft, et
al.)
domi-
a poor
starters, indies will
the
little
their craft for a
time in the telecom trench-
one way or another
for the 21st century.
will
determine
With the
long-
touted convergence of television and the Internet finally at
its
behooves the independent media community
to stake
claim now, demanding a new-media environment that will
sweeter deal, lobbying to be allowed to keep their old spectrum,

auctioning
it
off themselves or putting
it
to
some other revenue-
generating use. Even overlooking the fact that the airwaves are
a natural resource that belongs to
are licensed to use by the
switch offer
as
it
is
be done? Independent
any group
if
is
of us (which the stations
galling.
What can
too
all
FCC), the broadcasters' bait-andartists,
with as
accepted, need to weigh in on this matter.
the public-interest implications of spectrum manage-
details
ment. Congress
is
already considering various plans for using the
Here's a quick checklist of four telecom questions that need

to be addressed, along with
some suggestions on how
to
make
get the right answers:
Who owns
Web access: Who gets
Spectrum:
this plan, a Digital
Opportunity Investment Trust, fund-
support a range of on-line educational, civic, and cultural pro-
gramming. Indies with new media
skills
could hardly ask for
more, but persuading Congress to back such a visionary plan

won't be
easy.
Public broadcasting also bears watching in this regard, since
has a "digital promise" of
its
own
to
fulfill.
it,
and what
to drive
will
they do with
on the new broadband
it
did with
its
express-
Consolidation:
Once
are there
more channels, but fewer
real
it
finally
really goes
on
inside that black
box on top
oi'
and Who's out?
will
be a boon to anyone interested in
those
bandwidth-hungry audio ami video

that are currently constrained by dial-up modems' modest
streaming media
files
in
reaches a critical mass of U.S. households, high
speed Internet delivery
choices?
What
to allow
analog past.
Broadband Access: Who's
Why
FCC
some of their new digital capacity for commercial purposes. That doesn't augur well tor public broadcasting's digital plans, and independents will need to demand that
the PBS community think more expansively with its digital
future than
it?
it
Unfortunately, the
stations to use
ways?
TV?
is
ed by $18 billion in revenue from the spectrum auctions, would
PTV
Set-tops:
sell
A good place
is the New America Foundation's Public Assets Program

(www.newamerica.net/frames/fr_programs_2k.html) which
pubcaster's lobbying group recently persuaded the
your
to lose
to start
the existing broadcast regime.
we
much
the broadcasters' bid to have their cake and
prove more hospitable to alternative and creative voices than
sure
extend
Under
new media environment

it
to
have to tend to more than
legislative proposals, that
hand,
FCC will have
the broadcasters are angling for an even
that of the "Digital Promise" project (www.digitalpromise.org).
monitoring the rules and regulations, the federal agencies
and
appears certain that the
independent film or videomaker to do? For
while. They'll have to spend a

es,
it
And now
proceeds of the spectrum auction, but the most imaginative
nating the online marketplace.
So what's
was complete. Originally that deadline was scheduled
but
that date.
two-way
full,
communications, but these new networks have turned
ful
transition
December 2001
THE INDEPENDENT
35
transmission speeds. Gaining access to the broadband platforms
another matter, however.
is
handful of cable operators and
companies currently enjoys a stranglehold on
local telephone
high-speed Internet connections, and in the absence of mean-
broadband marketplace,
ingful competition in the
expression will surely

alike will
suffer.
soon face tiered
Content producers and consumers

with escalating fees
levels of service,
Independents
diversity of
have
will
to
"marketplace solutions,"
for
it
seems
most of these
likely that
safeguards will be eliminated or severely weakened. But
it's
not
too late to protest this evisceration of our media democracy, and

to expose the duplicity of the industry's claim that
Amendment
Contrary to
On
protected speech nor prevent competition.
spend time
the contrary,
these rules simply preserve a
modicum
and competition in
threaten to
fields that
of diversity
become
mass-media oligarchy. The big media lobbyists
single
in
First
its
have been violated by ownership constraints.

industry claims, the ownership rules neither ban
rights
are attempting to rewrite history, ignoring both the
the telecommunication policy trenches
massive consolidation that has already taken place
if
over the past 20 years, and the growing concentration
may be
of power in fewer and fewer hands. There
they want their say.
more media
outlets today, given the expansion of
cable systems and the introduction of niche publicafor faster transport speeds,
and
etary
affiliated
and favored
programming. The
quate open-access regulations
is
status granted to propri-
real
that
danger
absent ade-
some producers
will
be
but there are
tions,
far
fewer owners of these outlets
fewer choices for consumers and producers
who
and
far
wish to reach
beyond the homogenized mainstream.
excluded from participation altogether.
What's needed, then,

Internet
the
is
an assurance that the public
"most participatory form of mass speech yet
developed," in the words of the Supreme Court
will retain in
made
The FCC, which has the
the broadband era the same openness and diversity that
the dial-up system what
it is
today.
authority to adopt open-access regulations, needs to hear from
and other
artists
citizens,
not only on the broadband-access
but also on the currently unregulated arena of interactive
issue,
television (ITV)
Currently occupying a regulatory limbo some-
where between telecommunications services and video
delivery,
ITV demands the same open, nondiscriminatory guarantees

have kept the Internet diverse and competitive,
tem become simply another showcase

Viacom, and the other media giants.
for
lest
AOL
the
new
that
sys-
Time Warner,
Set-Top Surprises: Ghosts in the Machine
Often described
as the
sits
cable box or other device
able as the centerpiece of a
is
beyond the
watch, which ads they skip, and what
of compiled viewer behavior.
modems
Can we
come under
No
broadcaster
may own
TV
stations reaching
more than 35
percent of the nationwide audience.
No
cable operator
may own
systems that reach more than 30
Web
visit.
Some
who,
literally left to their
box into
that favor
much control
own devices,
to
network operatransform the
will
vending machine
for proprietary
content and closely monitored transactions? Here again the
FCC
can,
if it
so chooses,
open
a formal inquiry into the emerg-
ing world of ITV.
tours of the digital
is still
time for activism to shape the con-
media landscape, and
to seize
back from com-
mercial interests at least a measure of control over our digital

destiny. It will take a great deal of effort to
own
ing greater awareness of what's really at stake,
tinuing to
native
less
make
valuable content.
a digital
of what
Jeffrey Chester
is
is
do
and of course con-
won't be easy, but the alteroffers
more of the same and
simply unacceptable.
executive director of the Center for Digital Democracy,
a Washington-based nonprofit organization dedicated

diversity
so, criticizing
technical approaches, foster-
It
media system that
we need
and openness of
the
to
maintaining the
new broadband communications
Gary O. Larson manages CDD's "Dot-Commons"

The
CDD Web site
(www.democraticmedia.org)
on a
December 2001
the
others.
No cable company may have any ownership affiliation with

more than 40 percent of the programming that it carries on any
of its cable systems with up to 75 channels.
No company may own a newspaper and a broadcast station in
the same market.
No company may own a cable station and a broadcast TV station in the same market.
THE INDEPENDENT
Among
depending on
down paths
industry plans, developing our
36
box
what viewers
they
sites
percent of cable homes reached nationwide.
Given the deregulatory mood in Washington these days, and

the avowed fondness that FCC Chairman Michael Powell has
set-top
these boxes will eventually
network protocols
Fortunately, there
attack:
And
afford to cede that
intelligent set-top
longstanding regulations have
The
that will lead viewers
programming over
and newspaper ownership, and spending

vast sums on lawyers ad lobbyists, the conglomerates have taken
aim at some of the basic safeguards of media diversity in the U.S.
five
of interactive television,
services.
newer boxes feature hard- disk recorders that reserve space for
network operators to download targeted ads, based on analyses
tors,
Specifically,
new system
most consumers to understand.
ability of
even more powerful. Moving forward on a variety of fronts that

affect television, cable,
either a
about to become even more valu-
mysteries are software programs that monitor
certain brands of
speaking of the media giants, they're attempting to become
is
seemingly beyond the control of Washington, and certainly
built-in software or
And
estate in
atop your television set
e-commerce, and high-speed Internet
include the cable
Media Consolidation: The Rich Get Richer
most valuable square foot of real
the world, the box that
variety of public-interest
systems.
project.
offers information
media policy
issues.
t-Hfc
Technolo^^Nê
s
><
Color-Correction
HD Camera Rental Theatrical /Broadcast Surround Mixing

.
Motion Control
All Services
DVD
Authoring
NTSC and PAL
ROLAND HOUSE
"HIGH DEFINITION POST PRODUCTION
2020 North
Tel:
14th Street, Arlington,
VA 22201
703-525-7000, www.rolondhouse.com
_zd^^,:Z)
advertising revenues received by the ser-
vice provider exhibiting an
treaming Your Rights Away
that
is
access or "hit" the project.
Digital copyright law
enter into these
can protect your work
rights are a
Robert
by
Seigel
L.
On
key
sell boot-
leg copies of the latest blockbuster while
Canadian viewers access

television through live
American
streaming on the
to
is
or
who
Whenever you
issue.
common
most
work
kinds of agreements,
a technological level,
mediamaker
Those street vendors who
artist's
based on the number of users
issues
that
how and when
project's on-line rights.
one of the
arise
for
to license a
Even though the
current state of computer technologies
of a threat to most
their zip codes into a security page before
makes an approximately two hour "downloading" of a feature film a long and awkward matter, the technology is improving
independent filmmakers, especially those
being given access to a stream of live
and
who make
broadcast television signals that included
technology
American networks and
maker's
it's
still
in the theaters
times before
don't
seem
it
or even some-
gets to theaters
much
like
probably
documentaries, experimental,
or other non-narrative work. But
if
take the same concept and apply
to the
Internet
and other
avenues
like
it
you
distribution
digital
video-on-
pay-per-view,
demand, and DVDs, then independents

have to pay attention. For any artist who
Web
under Canadian retransmission regUsers were required to enter
ulations.
The
to
sports programs.
trouble was that the barrier was easy
Several movie studios, sports
trick.
Canadian users were gaining access and

that violated American copyright law.
through copyright viola-
The American entertainment companies
the site since unauthorized non-
won, and iCraveTV changed
of somebody merely owning a very poor
Companies
VHS
waters
copy of your work, thousands of
people could have access to perfect

copies that they could endlessly repro-
more
in
continue
to
plans.
its
these
test
Canada there's a similar venture called JumpTV, in the U.S. there's

RecordTV, which floated a process to crein
Transferring
it
Regardless of the
feasibili-
streaming a motion picture feature,
such on-line rights should not be exercisable by a distributor or licensee for a peri-
ventional markets as television and
shut
to
distribution channels to take advantage
serious way. Instead
rights.
when such
catch up with a media-
America (MPAA), attempted
of emerging technologies can end up get-
much more
will
od of time
down
tions in a
ty of
only a question of
is
and broadcasters, spearheaded

by the Motion Picture Association of
leagues,
thinks he or she can bypass the normal
ting ripped off
it
work
to a
(e.g.,
3-5 years), or such con-
home
video will be compromised, thereby causing a potential loss of a significant
amount
of revenue for a mediamaker.
Another problem arises when an artist's

are "split" and are shared by a
domestic distributor and a foreign sales
agent in which both parties want Internet
rights. Some distributors have been develrights
oping the appropriate safeguards to block
digital file makes
need of effective copyright protection
than any current analog versions of artistic work.
duce and
sell
without paying any royalties
or commissions. In fact, given this dan-
work to a digital file

need of effective copy-
transferring a
ger,
makes
it
more
in
right protection
than any current analog
Global piracy can occur any time a

is
digitally
transmitted digitally or housed
on
a server
the outside world.
even have
street
case
with connections to
The
infractions don't
to rise to the visible level of
vendors with bootlegs.

of digital
copyright
One
recent
infringement
Canadian Web site called

iCraveTV, which was developed to give
involved
38
virtual
are
still
VCR
and
on the Web
trying to develop technolo-
gy that will satisfactorily limit access to
will
THE INDEPENDENT
December 2001
Internet exploitation in unlicensed markets by using a
form of user registration or
limiting access to such video streaming to
who
those users with a certain telephone area
obtain permissions or pay compensa-
code. However, these firewall territorial
their "streamed" content to those
blocking measures are in a constant state
tion to those content providers.
versions of artistic work.
work
ate
many
Although most
artists aren't
going to
grapple with these particular issues in

their
own
contracts,
they will have to
of development.
To
resolve this dilemma,
filmmakers often have to negotiate with a
domestic distributor and a foreign sales
to
agent (or distributor) for a "freeze" of a
generate revenue for video streaming and
project's Internet rights until the technol-
other digital exhibition of their projects.
ogy
deal with similar challenges of
Various
models
business
adopted that include

the
payment of
how
have
been
is
developed which prevents the over-
lap of streaming video into unauthorized
flat fee licenses for
territories.
percentage of any
There
is
also the issue that confronts
online distributors and mediamakers con-
cerning video piracy and other forms of
unauthorized playback and duplication of

projects exhibited on-line. Internet distri-
NEW DAY FILMS
bution services have been developing
bution cooperative for social issue
various types of encryption technology
media.
and proprietary software that would significantly reduce the possibility of unau-
New Day
thorized use and duplication of an
the premiere distri-
is
Owned and
run by
its
MEW DAY FILMS
members,
Films has successfully distri-
buted documentary
film
and video
Seeking energetic
independent makers
for
artist's
thirty years.
of social issue
documentaries for
project.
Companies such
415.383.8999
or 617.338.4969
Call
Sightsound.com
as
(which released Darren Aronofsky's film

Pi
on the
membership.
Internet) have adopted a form of
http:
specialized digital "key" to the digital sub-
master which
is
//www. newday.com
"downloaded" into a
computer, enabling the project to
user's
be viewed on a user's computer

cific
new
number of times
of time.
Once
expired,
the
Canon
for a spe-
used to
access and screen the project
anymore
3/4"
HHB SQN
Final Cut Pro

Sony PD1 50/1 00 Beta decks
Matrox
Nextels Denecke
AnHiojjrl^ Mackie Quicktime Photoshop 6
a user's viewing period has
"key" cannot be
XL-1
After Effects 5
or a specific period
unless the user secures the right to further
access to the project
on
his or
puter by paying an additional
Even when
ever, there
could
is
a project
fee.
services
mbustion
tor*
igital
imagination
unauthorized copies
sell
decrypted project or post the
have addressed
Boris
which places identifying information
throughout a digitized work. Such
watermarking" can serve
Comteks
"digital
Neumann
cyberspace pirates and a means of estab-
their
some
been "bootlegged"
in
"Napster" manner.
The
Lipstick
Nagras
cameras
Digital
still
DVCAM
cameras
Lectrosonics
work so that
\-\g\\o \A/or\cJ
a work's copyright owners and licensees
can ascertain whether
Pagers
Discreet edit*
as a deterrent to
lishing the authenticity of a
Canon GL-1
MPEG-2
developing and using "digital watermarking,"
Red
CobraCranes
Sony VX2000
Bogen tripods
problem by
this
S decks
mera
electronic bulletin board. On-line distrib-
utors
yH
ustrator9.0
decrypted project on the Internet or an
Green screen
Pinnacle
encrypted, how-
the possibility that a user
make and
of the
is
ennheiser
her com-
work has
sort of video
can contain such information
as the
118 West 22nd

212 243-8800
mark
identifying
name
Street
NYC
<gg>hwc.W
of a work's owner or licensee and any
other information that would confirm a

work's origin and authenticity.
who would
alter or
Any
remove the
user
www.mbnyc.com
"digital
watermark" would permanently damage
135 West 20th Street

Tel:
the digitized
work and would not be
to gain access to the digitized
file's
watermark readable,
thereby reducing or limiting the possibility
of piracy)
Earlier this year, the
FCC
approved the
concept of carrying over the
10011
able
cryptographic key (such a key generally

digital
NY
identi-
fying information without the use of a
makes the
N.Y.,
212-242-0444 Fax: 212-242-4419
"digital
watermark" concept to electronic devices
cd-rom duplication and mastering

video duplication and transfers
production services and editing
dvd encoding, authoring and burning
video encoding for the internet and cd-rom
Film Festival Special - 20 VHS tapes w/sleeves & labels - S99
DVD disk: $200/1st minute, S10 each additional minute
December 200]
THE INDEPENDENT
39
themselves in the form of a license agree-
ment between entertainment companies

represented by the
MPAA
and consumer
manufacturers.
electronics
The
license
would require that any electronic playback devices like TVs, VCRs, the new
digital
personal video recorders,
high-
and video-on-
definition television sets
Further problems arise concerning the
enforcement of an
artist's rights to his
her work on the Internet since there
is
or
no
international copyright law (copyright law

is
generally
in
territorial
nature).
However, there are international
treaties
amongst various countries that establish
minimum
guidelines for protecting such
Your documentary can move audiences to

take action for social change.
The Independent
Producers' Outreach Toolkit shows you how.
Cyberspace offers artists
WHAT YOU GET
interactive
Resource
Case
work, but that will only pay off
if
artists
Binder
avoid the hidden costs.
Studies
Sample
way of exhibiting their
vast, inexpensive
Budget
potentially
Proposals
Interactive Worksheets
Phone
Consultation
demand
IMEMBER DISCOUNT!
systems be able to read digital
www.mediarights.org/toolkit
watermarks and only play appropriately
bought material. For instance,
mately 110 countries.
you downloaded
tenets
would only allow
"national treatment" which requires that
as
you want, but

movie,
XL 1000
Film Composer
Uncompressed / AVR 77
/Titles
/Graphics
Experienced Editors

Sound Design
Editing
Audio Syncing w/
Mixing
Digital Pix
SOUND STUDIO
Voice-Over/
ADR
Sound EFX
it
once. Since the
Foleys
Library
DUBS & XFERS

632 B'WAY(& Houston) 10012
212.473.3040
THE INDEPENDENT
December 2001
MPAA
a signatory to the
is
all
of this
is
One
the
of the basic
requirement of
of the countries that have signed the
Berne Convention accord the protection
and the consumer electronics industry
of their
wants hardly any, the groups are current-
whose works have been

infringed on in that particular country.
Therefore, if a work created by a French
author were infringed upon in the United
ly at
an impasse.
Other
however, were settled in
issues,
1998 Digital Millenium Copyright
Act (DMCA). For one

/
1:1
3D
it
if
States
Berne Convention, along with approxi-
wants even more stringent restrictions
the
Media Composer 8000
The United
much
a pay-per-view
AVID
upon which
basis
copyright protection can be extended.
if you
wanted to tape an episode of Friends, your
VCR would allow you to play it back as
you to play
VIDEO/AUDIO POST
and the
countries' works
made attempts
the
thing,
bill
to create and/or use tech-
nology to bypass technologies and any

other measures to misappropriate one's
"on-line"
work
copyrightable
crime.
Removing or falsifying such copyright

management information as found in digital
watermarks or copyright notices
also a violation of the

for
DMCA.
such violations of the

copyright
owner's
DMCA include
right
to
obtain
injunctive relief to prevent such

sures,
mea-
monetary damages, recovery of rea-
sonable attorneys' fees

his
is
Penalties
or her claim
if
one
and the impounding
and/or destruction of such

Violations of the
prevails in
own
respective copyright laws to
foreigners
States, the
French author could use U.S.
copyright law to enforce such a claim.
Although
still
evolving, the measures
discussed in this article reflect
some of the
attempts of the courts and legislators to

bring
some degree of law and order
those mediamakers
who
to
dare to explore
the cyberspace wilderness, and to caution
those
who want
to
jump
marketplace as quickly
into the digital
as possible to level
the playing held. Cyberspace offers artists

a potentially
vast,
exhibiting their
but that
will
work
inexpensive way of
to a global audience,
only pay off
if
these artists
avoid paying the hidden costs.
illegal devices.
DMCA on a large
scale
carry fines from $500,000 to $1 million
and/or imprisonment up to 10 years.
Robert L. Seigel ([email protected])
is
NYC entertainment attorney and a partner in

the Daniel, Seigel
& Bimbler,
LLP
specializes in entertainment
law firm that
and media
areas.
JJJ-
Where Start-ups Fear to Tread

Artists take
on streaming media
by
Part workshop, part summit, the

American Film Institute's three-day summer program on "The Arts and StreamMedia" brought together over 50
ing
national and international digital media

"hacktivists," theoreti-
curators,
artists,
at
Museum; and digital art

Lunenfeld, Media Design
Professor,
companies and entertainment firms that

PHOTOS COURTESY
Protools
Center College of Design. Other internationally recognized
new media
Talented Editors
pioneers in
support:
attendance were Walter van der Cruijsen,
ZKM Web
developer of
Dominguez,
editor
Cut Pro
Commotion Pro
Art
HDCAM 24P/60i
Ricardo
site;
Crafts.
start-up
Final
After Effects
theorist Peter
and the Web. The force behind the

event, the third since 1997, was to
rather than the
Uncompressed Video
Media 100
Robin Oppenheimer
"The Thing";
Natalie Bookchin, CalArts; and Jon
instruct artists
iYlTirilllir
an AFI summit
and other luminaries associated

with artistic applications and larger cultural issues surrounding streaming media
cians,
one productions
all in
Betacam
Betacam SP
Digital
of
DVCPRO/DVCAM/DV
Winet, California College of Arts and
SP/S-VHS
U-matic
Hi-8/Video8
The
two days were designed
first
examine what streaming media
From
to
includ-
HD/ Digital
and examples of
ing the digital tools used
AFI
is,
Cloning
Down Conversion
Via HD-SDI/Firewire
left:
Time Code Burn-in

Adam
Hyde, Radioqualia.
Wayne Ashley, director

new media, Brooklyn
Academy of Music.
/ Digital Cameras
DP & Crew Available
High Def
of
212.868.0028
Honor Harger, webcasting

Modern
curator, Tate
Museum, London.
have wildly
on
possible
failed at
uses
what
streaming media
and prospects of the
technology for their work.
The
group of 22
artists
selected by an L.A. jury
of media arts professionals from an open
and 44 leaders in the

The event was free
call,
media.
field
of
new
to the artists
(and to the public on the third day) with

,
AFI Web
footage later streamed on the

(www.afionline.org).
site
There were
also
evening screenings of experimental films
and Lewis Klahr.
Participants
in
the
scheduled
Context
STUDJOS
throughout.
Smaller mentoring sessions happened
where the
parallel to these presentations,

artists
could select which presenters they
wanted
to
learn
tools
such
more from, based on
48x44 with eye wall
group presentations. Digital
their earlier
as
ProMAX, SMIL, NATO,
^30x24
and other streaming media applications

were covered in-depth
at those smaller
Workshop
sessions with titles such as
"Large Scale Public Projects," "Art-Net-
which
event,
is
with
additional
funding
from
the
Rockefeller Foundation, included media

arts
veterans such as Kathy Rae Huffman,
director
of Hull
Time Based Arts
in
England; Claire Aguilar, director of pro-
sented short case studies of
artist
recording
ranging from artist-produced
Web
and
Sherrie
Rabinowitz in 1975 to develop
new and
ed
by
Kit
Galloway
New
described and demonstrated his artist-in-
Media Initiatives, Walker Arts Center;

Benjamin Weil, media arts curator,
SFMoMA; and Christiane Paul, adjunct
curator of New Media Arts, Whitney
residency project with Seattle City Light
Steve
Dietz,
director
of
sites to
the now-historic Electronic Cafe, found-
of L.A. Freewaves; as well as digital arts

curators
&
reheairsal studios
video editing
projects
structures for video as an

communication form. In one
panel, Seattle public artist Dan Corson
gramming, ITVS; and Anne Bray, director
)duction
audio post-prod
Works," and "Diverse Explorations" pre
sponsored by the California Arts Council
sound stage
sessions.
by James Benning, Pat O'Neill, Janie

Geiser,
tools.
large presentations for the
group
entire
program's core participants were a
doing with those
artists are
There were
stage rentals
tape duplication
production office
lighting
&
grip packages
alternative
interactive
Artists
Located
1
(www.skagitstreaming.net),
where
and IndependenLs\Welcome
in
Williamsburg
North 12th Street Brooklyn. NY
he-
placed tiny digital video cameras in rural
Washington streambeds controlled by the
www
18.384.8300
co n
December 2001
e x
nyc co
.
111
THE INDEPENDENT
41
Pm
Final Cut
streaming video images on the side of a
downtown department
Editing Suite
Apple Power Mac G4
Realtime Editing
starting at
power company that showed salmon

spawning, and then projected those
city's
the actual
6 Hours of Video Storage

$6500 Call 212.604.9999 x43
Don't Rent.
generation.
Own Your Own! Buy Now!
525 W. 23rd
St.
NYC,
NY 10011* www.novaworks.com
TV +
Radio Activities"
workshop had four presenters Claire

Aguilar from ITVS, Walter van der
Cruijsen from Berlin, and Honor Harger
and Adam Hyde, co-founders of
Radioqualia
loose
(www.radioqualia.net),
of international
collective
who
citizens to
of their electrical power
site
The "AlterNet
212.604.9999
store at night to
more intimately connect urban
on the
are exploring radio
Radioqualia
is
Internet.
now experimenting
with
community-produced
streaming
programs
Web
the
via
Amsterdam
artists
radio
to
local
radio station that then trans-
mits those programs over the airwaves.
DIRECTOR
James Magnuson
This strategy uses the
Web
not
as a broad-
medium like TV, but as a transmission

medium where community programs,
cast
inexpensively produced live or taped on

location, are streamed to a radio transmit-
Combine work
Such usage of streaming
ter for broadcast.
in
media could expand

i-oirrmwiri/TinA with fiction,

interdisciplinary
MFA degree
program.
cable
TV
production)
TV
ail
students.
for
sites
"micro" radio and
An
produced anytime, anywhere.

collective
artists'
local public access
channels as distribution (and
Seattle
Spaceboat in
called
already producing
is
TV
shows
at
Consolidate Works, a local multimedia

broadcast live on a
Amsterdam cable access TV channel. The shows are digitally streamed over
ordinary phone lines at noon Seattle time,
arts space, that are
UT
Michener Center for Writers
702 E. Dean Keeton
St.
Austin,
TX 78705
local
PM in Amsterdam.
Another major theme of the three days
was the recognition that the Internet, and
airing at 9
512/471.1601
www. utexas.edu/academic/mcw
specifically
streaming media,
nologies in their infancy,
tech-
are
and that
it
will
become mature,
widely disseminated, and well-undertake decades for
them
to
stood. L.A. curator/consultant Carol
E IE
CENTER
Klonarides noted that "cable

Internet of the 1970's."
TV
It is still
Ann
was the
too soon
what the Internet of the 21st century will become, but it was obvious at this
to tell
Become a
Final Cut Pro Editor:

Six-Week Courses and Weekend Intensives
conference that
continue to
artists will
play a key role in shaping these young

technologies, as well as calling into ques-
"The Edit Center has been offering budding editors

a way to get hands-on experience in postprqduction
in a fraction of
the time..."
tion their applications
made by
and assumptions
the commercial sector and main-
stream press.
he Independent Film & Video Monthly
Robiri
ww.theeditcen
Oppenheimer
is
a Seattle-based
consultant researching Northwest media

arts histories at Bellevue
42
THE INDEPENDENT
December 2001
Art Museum.
Given how useful

presentation
its
style
information
this
is,
The
frustrating. Harding's
is
simple and informative but quite
is
The sheer length of the text is

compounded by the author's goal to
explain so many things for readers working to so many ends at so many skill levas well as the frequent sidetracks to
examples and then back to
The Video
Handbook,
Activist
graphic
layout doesn't help
sense of mass, with
Second Edition
Thomas Harding
(Pluto Press, 2001)
together.
The
his point.
offset
this
of the elements run
all
Case studies are demarcated by
which crowds the page

even more. Had they simply started on a
a vertical rule,
Engaging and immediate, moving image
media
new
powerful resource
is
of location and a bit of
educate citizens about
to
social issues.
much
"When
son.
resources
had to
learn everything by trial and
video for change,
author
Harding.
couldn't find a
"I
book that provided the tips I

needed for my activist
news
to Television
(www.
weakness by publishing The Video
Handbook
1997.
in
The
2001 edition builds upon the
revised
with
first
updated equipment info and expanded

listings,
case studies, and explo-
rations of using video
Assuming no
the Handbook
on the Web.
is
weighted
munications
tool,
video as a com-
but has plenty of
tips
for deal-
advocacy documentaries. Chapters
tion
on the news
outlets;
activists.
to
to
getting your
or to other distribu-
training
Throughout
future
the
videoing
and
and organizations
are listed
4.
when you do
should heed Harding's
close-up, so that the image
5.
video
6.
sky/space above the subject.
Accidentally switching on a digital
effect.
7.
Missing the action because you're
8.
Recording with the date on.
9.
Switching the camera off too
quickly.
10.
Failing to think about
aware of
call to, "take
strategy,
it
and
what
and go and
now, after having witnessed

explosion of American-made
Anders and Richard

Sundance audiences
in January with two strikingly inventive
DV films. Alan Cumming and Jennifer
Jason Leigh debuted some months later
with their digital film, The Anniversary
digital films. Allison
Linklater surprised
Agnus Varda premiered her
And
Steven Soderbergh described
text
are
Hollywood,
the
Roman
it,
Hollywood, Indiewood
real
longer case studies.
quently to
list
examples and
Harding pauses fre-
world
these days.
Produced
Roman
filmmaking
least
Digital
Babylon:
Holly-
wood,
Indiewood
questions you might ask
yourself and things to keep in mind.
you didn't
of
back
in
Dogme
Cannes
1995
95
when
group
with
the
interviews
on
the
pros of digital filmmak-
believe.
realize
and
reader through a series
Roman
would have us
pop-
books,
Dogme 95 guides
what filmmakerShari
like the
Projections
ular
(ifilm Publishing)
If
sees
way
every-
shooting digital
one's
At
I.
his
Academy Award-winning Traffic as a

"$49 million handheld Dogme film."
From Dogme 95 to Indiewood to
and Dogme 95
arrived.
DV
documentary, The Gleaners and
ing.
numerous
the
Celebration, then you're at least acutely
Digital Babylon:
author
how
footage will be distributed.
-Elizabeth Peters
that's
is
Composing the shot with too
much
will
it
has
leaving
(e.g.,
wobbly.
socialist
you need, design your
Digital
to
Videoing from a distance with
zoom
Anyone
with documentary video
find plenty else of value in this book,
Shari
mean
don't
camera in standby mode).

3. Too much zoom and pan.
from
chronologically,
production, and post;
when you
shots of walking feet) and not
(e.g.,
Party.
who works
"Finding a Purpose;" through shooting,
piece
strategies
in the in-depth resources section.
use
ing with events footage, witness videos,
arranged
Running out of batteries.

Videoing
towards
more experienced producers
are
1.
last year's
sample workshop schedule. Related reading materials
Handbook
2.
de-
ing Video Activists" of-
prior video experience,
activists learning to use
or
News"
the pitch, the deal,
tails
fers
undercurrents.org), set about to address
for
"Supplying Footage
uals.
ser-
Undercurrents Productions
resource
Public"
included in how-to man-
NHtemitg v dnita mmhck
co-founder of
Harding,
this
of
and the contract. "Train-
Britain's first video
Activist
the text.
in
Activist
covers ground not often
work."
vice
those
Psychology
Videoing
THE VIDEO
ACTIVIST
HANDBOOK
Thomas
error," states
"The
THOMAS HARDIH6
Mistakes
videoing something else at the time.
await
who can mine
one per-
started to use
benefited.
Nonetheless, precious
and knowledge and passion

for a particular issue rarely
resides handily in
space,
book would have
the
skill,
cunning,
relations
public
white
relaxing
But the conflu-
ence of videomaking
page, allowing ease
Common
Shooting Video from
The Video
verbose.
els,
10 Most
When
it
with
the
The book opens

Harmony Korine's
self-indulgent
hit
festo
The
and
mani-
leads
fean-Luc Godard's
December 2001
into
self-
THE INDEPENDENT
43
EE3
c
National Association of Latino
deprecating
Independent Producers*
December 6-9, 2001
have always been
"I
a loner"
on experimental cinema, before
essay
American independent film's history and

trace its roots and its impact. Drawing
going into Roman's interviews with the
from 10
Dogme
from 1991 to
95 members and other indie/digi-
2000Jim
includ-
directors
tal
ing
worth of Sight and Sound
years'
^^^^^^^^^_
criticism,
has
gathered
Figgis.
together more
than just
Also on hand are

Todd McCarthy, the
essays
senior critic at Variety,
views
and Sundance
combination helps keep
fest-
Geoffrey
chief
the
top
industry panels .
name
awards gala
video slam
L JU2J
have reshaped the film

transformed
less
optimistic
resents the world.
cele-
tor
digital
film-
formed representations of
making
as a
largely to this 'indie' sec-
democratic and
artful alter-
writes in her introduction,
DV
filmmaking a
of images and experimental
ideas have
come
to the fore, challenging
ethnic minorities... and of gays and les-
And
since
roles certain directors
all levels."
digital
is
lighter
typical film
filmmaking
is
and
cam-
potentially
more intimate than filmmaking with celluloid. But more than that, digital filmmaking opens up one hundred years of
new
possibilities
Pioneers
MOTION GRAPHICS
EXPERIENCED
IN
FEATURE LENGTH
3 3 4
001
-8283
-Www.americanmontage.com
44
THE INDEPENDENT
December 2001
Among them
are the
Stan
Cassevettes,
Andy Warhol),
the Queers
Todd Haynes and Gus Van

and Mavericks (including Paul
Thomas Anderson, Spike Jonze, and
(including
Sant),
Robert Altman).
The
collection includes pieces by
Amy
what French film critic

Andre Bazin thought was the primal
question, What is Cinema? And from
here anything
sent a strict definition of 'independent';
the
advent of
DV
technology
is
possible.
Belinda Baldwin
American Independent Cinema:

A Sight and Sound Reader
Edited by Jim Hillier (Indiana
University Press/British Film Institute)

670 BROADWAY SUITE 300, NY, NY
(John
Brakhage, and
but instead shows the several different

layers of
films
Taubin, J. Hoberman, Gavin Smith, and

Jonathan Romney, and offers insight into
why and how some people like Spike
Lee and Steven Soderbergh are able to
straddle the line between commercial
and independent. The book doesn't pre-
allows us to ask
AFTER EFFECTS
and particular
dent movement.
aside,
makes sense that he
it
has chosen to organize the book by the
wood filmmaking on
of the moving image. Digital babylons
he views the film world in
terms of its voices,
have played in the American indepen-
and reminds us of the original mysteries
& Web Production
trans-
the terrain of independent and Holly-
celluloid storytelling to
Film, Video
we owe
that
bians," he writes in the introduction.
new wave
era,
/Analog
is
brates
film-
more mobile than the
Digital
"It
on digital
making and
Since the digital camera
INC
how they
how film rep-
world but for
lon avoids, or negates,
"with the advent of
AMERICAN MONTAGE
to
landscape. In
As Roman
J Ijjjlif^)
looks
Hillier
native to celluloid.
jJ JJ J
mag-
true to the
general, Digital Baby-
takes
talent . pitch sessions
book
her portrait of the
the
and reviews. The
films not just for how they
digital
keynote speakers
pieces,
azine's feel.
indie world complete
California
and think
but also included inter-
producers in today's
San Diego,
collec-
du Cinema
tions of Cahiers
Gilmore. Several key
in
has
Wenders, and Mike
ival
JiJ 'J13
edited
previously
Wim
Anders,
who
Hillier,
The aim of American Independent

Cinema is not to define once and for all
what is and isn't independent, but rather
to look back on a defining period in
independent and what
in the context of
when
it
meant
a piece was writ-
ten, a particular year, or a certain cultural period.
Ultimately,
it
seems,
the
spirit
of
American independent cinema is alive

and well it just so happens that economic co -dependence is a little more
common
than before.
Farrin Jacobs
Bo Mehrad
by
we recommend
&
Over 100 feature films, shorts,
produced
in
for march
(jan. 1
include
issue).
members can search
[email protected]. aivf
comprehensive festival listings at www.aivforg.
independent film festival,
int'l
681-7600;
fax:
Deadline: Dec. 15; Jan. 5
media,
animation,
doc,
budgeted
than a million dollars are
for less
Projects
(late).
eligible to
days
Five
workshops,
screenings,
of
Michigan screens
film fest in
tour,
youth film projects.
SR Preview on VHS.
Beta
Entry
independent
of
Awards: "Michigan's Own
w/
cats
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35mm, 16mm,
Formats:
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all
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IL
Preview on VHS.
312-431-1330;
awarding
film Competition"
Columbia
Manager,
Entry
$25-35
$15-25;
Fee:
(late).
312-344-8030; clc@popmail.
fax:
Contact: Susan Woods, 304 Evergreen Street Ste 100,
colum.edu; www.latinoculturalcenter.org
own
Feb.
the Short Film
in
(517) 336-5802; fax: 336-
Ml 48826;
East Lansing,
CHLOTRUDIS AWARDS SHORT FILM FESTIVAL,
2750; [email protected]; www. elff.com
HAZEL WOLF ENVIRONMENTAL FILM FESTIVAL,
April
Chlotrudis Awards, a non-prof-
11-14, WA. Deadline: Dec. 10. Fest (formerly Equinox)

it
&
organization that honors
supports independent film.
Cats: short. Awards: Best Short Film. Formats: S-VHS,
MA
DVD. Contact: CASFF, PO Box 605, Reading,
environmental films from around the
in
& an environmental media workshop
world
series.
01867;
in
genres, addressing environmental
all
w/
Special consideration to works associated
www.chlotrudis.org
Max
60 min.
length
short
Incl.
CROSSROADS FILM
FESTIVAL,
MS. Deadline:
April 5-8,
& sample
written description of the film
of promotional
music video, student, youth media. Awards:
script,
&
experimental,
animation,
short,
doc,
feature,
genres
all
Contact:
$25.
Fee:
Programming
Posse,
Carolina
environmental campaigns.
Cats:
Ml.
most diverse
foreign films. Cats: feature, doc, short, student, children.
issues.
screenplay readings, location
largest,
35mm, 16mm,
Seeking works
enter the test.
The
(late).
Awards:
experimental.
Audience Choice $5,000 cash. Formats:
presents the best
9-13. Deadline: Dec. 31; Jan. 31
April
www.
[email protected];
EAST LANSING FILM FESTIVAL, March 21-24,
category of Boston's
bare bones
660-3699;
ddff.org
cooperation w/ Columbia College. Founded:
23-24, MA. Deadline: Dec.31. Compete
Domestic
is
1987. Cats: Feature, Short, children, family, student,

youth

other coun-
videos.The fest
to cover date
&
Latin America, Spain, Portugal, the US,

tries.
Dec.
31
Jan.
31;
Fest's
(late).
goal
provide
to
is
VHS (w/
material &/or materials from campaign Formats:
Auteur of the Year, Audience Choice Award, Grand Jury
&
Mississippi
Awards. Formats:
35mm, 16mm,
SP,
super
8,
8mm,
$25
Hi8, DV. Entry Fee:
PO Box 2017, Muskogee, OK
Floor,
& filmmakers from around
the world, showcasing
toward the
educa-
cultural,
tional
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community &
the
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region.
Founded: 1999. Cats: feature, doc, short, student, music
74402; (918) 483-9701;
fax:
(775) 307-1545; bare-
16mm, 35mm, 8mm,
video, experimental. Formats:
payable tp
March
Mercer
3, IL.
Deadline: January 15. One of the oldest student/commuin
Muddy
the US, the Big
MOM! FILM
one
is
of the
the country.
in
$45
$25
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$10
add $10
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well as the
Muddy places emphasis on
&
&
not-so-short shorts w/ deep thoughts
shal-
after Dec. 31. Contact: CFF,
&
yes again:
39225; (601) 352-5230; questhe shape of your
in
www.crossroadsfilm-
[email protected];
initials.
Formats:
for-
all
Cash & non-cash
Awards:
prizes
fest.com
Formats accepted. Preview on
All
region. Big
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the experimental
accepting short
experimen-
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awarded. Formats:
& Western Kentucky
Illinois
fax:
11-13, NC. Deadline:
April
(final). Festival is
low pockets. Three days of music, movies,
MS
Box 22604, Jackson,
31
mats accepted.
shown on the SIU campus as
Films are
greater Southern
$25 (checks
Fee:
98109; (206) 443-7239;
FESTIVAL,
(early); Jan.
pancakes
premiere independent short film tests
Entry
Beta, 3/4", Pixel Vision, DV. Preview on VHS.
SR
Entry Fee:
tal);
WA
Seattle,
St.,
shorts
nity-run film tests
VHS.
on
Moving Images VP). Contact: c/o KCTS, 401
443-6691; [email protected]; www. hazelfilm.org
Jan.
FESTIVAL, February 22
Preview
optional).
HI
Beta
MUDDY FILM
contact info written on the tape; s.a.s.e.
Hi8,
[email protected]; www.barebones2002-sites.cc
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S-VHS,
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the Southeast
CUCALORUS FILM
March
FESTIVAL,
20-24,
NC.
VHS (PAL
or NTSC). Entry Fee:
Contact:
HMFF, 401
none
$15
(early);
(final).
film-
Deadline: Nov. 15 (early); Dec. 15
The annual
(final).
Chapel
Ave.,
Pritchard
NC
Hill,
maker. Founded: 1979. Cats: feature, doc, short, anima-
Cucalorus Film Festival
held
is
historic
in
downtown
experimental, any style or genre. Awards: Cash
tion,
Wilmington,
NC.
formats, genres
All
&
are
lengths
27516; [email protected]; www.himomfilmfest.org
awards. Also: the John Michaels Memorial Film Award,

accepted. Cucalorus
human
presented to best work that promotes
filmmakers,
3/4",
1/2", U-matic.
Preview formats
known as
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for
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rights,
peace & justice topics or enviromental issues. Formats:
16mm,
is
same
w/ tours
Screen
of
Gems
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INT'L FILM FESTIVAL, June
Joe
14-27,
Deadline: Jan. 20. Fest takes place at the
NY.
Dunton's Camera House & numerous panel discussions

as
Walter Reade Theater at Lincoln Center
&
co-present-
is
throughout the week. Founded: 1994. Cats: feature, doc,

screening formats. Entry Fee: $35 (under 20 min); $40
ed by the Film Society of Lincoln Center. Fest

short, animation, experimental,
music video, any
Dept.
of
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University,
Carbondale,
IL
62901-6610;
ed to advance public education on

genre. Awards: Non-competitive. Formats:
all.
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on
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Entry
$20(early)
Fee:
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Dan Brawley, PO Box 2763, Wilmington, NC
28402;
(910)
concerns. Highlights from the fest are presented
growing number
ture,
343-5995;
fax:
343-5227;
$5,000 given
for
to a
one filmmaker
cucalorus.org; www.cucalorus.org
the fest for courage
al
test of the devious,
films that are radical
14
(final).
Awards: Bacchus Bunny Awards
work
to
screen at the premier doc fest
bines the work of established

will
be given
North
in
16mm,
3/4", Beta
SP Preview on VHS (preview tapes
are
not returned, they are recycled). Entry Fee: No entry fee.
Contact: John Anderson,
& new documentarians, &
35mm, 16mm,
super
York,
350
Fifth Ave.,
NY 10118; (212) 216-1263;
fax:
34th
Fl.
New
736-1300; ander-
[email protected]; www.hrw.org/iff
the
&
all
guests, a relaxing,
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Most Offensive, Most
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audience award. Formats:
in
America. Fest offers diverse programming* that com-
offers these filmmakers,
following cats: Best of Festival,
NC.
4-7,
5th annual event seeks recent cre-
3.
either content or
production value. Cats: doc, short, experimental, animation.
Deadline: Dec.
ative doc
in
April
3rd annu-
depraved & defiant. Looking for
& experimental
in
35mm,
Formats:
filmmaking.
in
Feb. 22-24,
DOUBLETAKE DOC FILM FESTIVAL,

(early); Jan.
Nestor
doc, short, any style or genre. Awards:
Almendros Award
MA. Deadline: Dec. 15
in
around the world. Cats: fea-
of cities
info@
muddyfilm.com
BOSTON UNDERGROUND FILM FESTIVAL,
creat-
rights issues
(final).
Contact:
1482; fax: 453-2264; [email protected]; www.big-
human
Preview
Illinois
(618) 453-
was
style or
(20-50 min.); $45 (over 50 min.). Contact: Festival,
& an
8, 1/2"
mate atmosphere.
between January
Entries
1,
2000 & December
more than 180 min.
(NTSC & PAL),
3/4". Preview on VHS. Entry Fee: early,
$35
over 60 min.); $15 (shorts, under 60
in
HUMBOLDT
INT'L
FILM FESTIVAL,
April
3-7.
CA
1967,
The
length.
10,
Deadline:
Jan.
Humboldt
Int'l
25.
Since
its
inception
in
2001 & be no
Film Festival continues to support

brate filmmakers working
in
experimental
&
&
cele-
non-tradi-
doc, animation. Awards: Audience Award, Jury Award,

(features,
Center for
min.); late,
$40
441 Washington
975-3361;
$20
(features);
St.
#2,
Doc Studies
Filmmaker
Prize,
& MTV
Brookline,
MA
News/Docs
Prize.
Kodak donates $2500 worth
www.
Beta, DigiBeta, DV. Preview on
VHS (NTSC
ferred). Entry Fee:
of the
April
5-17,
IL
best productions from
DDFF 1317 W.
$35
Pettigrew
(regular);
St.,
$50
(late).
medium, the Humboldt
preto
Some
a first time filmmaker in
16mm,
the
35mm,
Deadline: January 11.
Whether you are
established independent continuing to push the limits of
footage for each award winner. Formats: 1/2",
localsightings.com
CHICAGO LATINO FILM FESTIVAL,
ways.
of stock
02446; (617)
[email protected];
tional
the process of developing your unique visual style, or an
(shorts). Contact: BUFF,
submit your
16mm
or
Int'l
Film Festival invites you
Super 8 short
film.
Nestled
Contact:
between the redwood forests & the
Pacific
Ocean, the
Durham, NC 27705; (919)

Humboldt
Int'l
Film Festival has the distinction of being
December 2001
THE INDEPENDENT
45
one
rsT U
of the
oldest student-run film tests
Films must be longer than 60 min.
the world.
in
length
in
& completed
<
the last three years. The test takes place every April
in
home
Areata, Calafornia,
Humboldt State
to
in
Universtiy.
Founded: 1967. Cats: narrative, experimental, animation,

2]
present the LAIFA Award for Best Picture
will
&
(Italian
Awards &
Italian-American),
4 J

T+F:(21
festial
254-1 106
B:
&
various placements
most popular
Certificates for
Award
the People's Choice
&
film short
for the
feature. Preview on VHS. Entry
7270
Fee: $50. Contact: Festival,
#102,
Franklin Ave.,
studio4j@mindspring. com
&
doc,
the "you call
category, short, any style or genre.
it"
Awards: Last years test awarded over $3,000 worth
cash
Discreet logic's
prizes, film stock editing services
16mm, super
Formats:
scriptions.
of
& magazine sub-
Los Angeles,
CA 90046; (323) 850-7245;
[email protected]; www.italfilmfest.com/
MAGNOLIA INDEPENDENT FILM FESTIVAL,
&
Entry Fee: $30. Contact: Dept. of Theater, Film,
Mag
CA 95521;
Areata,
Univ.,
cinema
of
&
alive
4113;
826-4112;
fax:
@humboldt.edu
filmfest
& moving forward
well
in
(707) 826Mississippi. The first film fest

;
Film Festival goes out of
Combustion*
the state, the Magnolia
in
way
its
to present the best of
www.humboldt.edu/~theatre/filmfest.html
independent films of
After Effects
IRISH REELS IRISH FILM & VIDEO FESTIVAL, March 711,
WA.
best

3/4", S-VH5,
Fest keeps the independent
Dance,
spirit
Humboldt State
Feb. 7-9,
Preview on VHS.
8.
MS. Deadline: Jan. 18.
edit*plus
436-2928;
fax:
Hi8
Deadline-. Dec. 17.
contempory
in
Irish
Devoted
to
showing the very
filmmaking & continues
& about
ture independently produced works of
to fea-
Ireland.
all
lengths
&
genres,
ticipating filmmakers to a fabulous time.
&
to treat par-
Founded: 1997.
Cats: Feature, Short, Doc, youth media, experimental,
animation. Awards: Cash prizes plus "Mags"
sented
incl.
be pre-
will
three Grand Jury awards, Audience Award,
Films must have been written, directed or produced by
Elena Zastawnik Memorial award for Best written Film
an
Festival Director's Award.
filmmaker working
Irish
Formats: DV,
(NTSC
16mm, 35mm,
WA
abroad.
or
VHS
Beta, DVD. Preview on
911 Media Arts Center, 117 Yale
or PAL). Contact:
Ave North, Seattle,
Ireland
in
98109; 206-682-6552;
fax:
682-
7422; www.91 lmedia.org/events/irishreels/
Formats:
free.
16mm, 35mm,
video, Beta, 1/2". Preview
on VHS. Entry Fee: $10. Contact: Ron Tibbett, Fest
2269 Waverly
5836;
fax:
West
Dr.,
Point,
MS
494-9900;
(662)
&
Filmmakers who attend stay
Dir.
39773; (662) 494-
[email protected];
www.magfilmfest.com
ISRAEL FILM FESTIVAL, New
Price
J fat tile IflJepcftJertt

In
the East Village
Los Angeles:
May 30-June
Miami:
Foundation
28-March
York: Feb.
14;
May 2-May
11-April 23; Chicago:
April
9;
CA. Deadline: Dec. 15. IsraFest
6,
Inc.
presents Israel's newest feature films,
documentaries,
TV dramas, mini-series & student
showcasing more than 400 new
shorts;
over 450,000 filmgoers

a
in
the U.S. IsraFest Foundation
organization
non-profit
American view
of
Israeli films to
that
Israeli
exists
&
life
&
the
spotlight
to
growing film & television industry,
Israel's
enrich
to
culture,
is
to provide
an intercultural exchange through the powerful medium

of film.
The test
Miami,
&
presented
is
New
in
Chicago. Open only to Israeli films
made
dur-
Founded: 1982. Cats: feature, doc, short, stu-
ing 2001.
dent, TV. Formats:
35mm, 16mm,
VHS.
No entry
Entry
Fee:
Foundation
Angeles,
York, Los Angeles,
Contact:
fee.
6404 Wilshire
Inc.,
Beta SP Preview on
IsraFest
#1240, Los
Blvd.
fax:
performances
films
of
independent
w/ outstanding
Deadline: Dec.
Sculpted statuettes
in
Best Actor, Actress, Screenplay. Formats:
DD
IN
Beta SP DV. DigiBeta, DVD. Preview on VHS. Entry Fee:

Student: $25; Shorts: $30 (early), $40 (late); Features:
$40
(early),
880 Apollo
$50
535-9230;
(late).
Ste.
St.
Contact: c/o Franken Enterprises,
337,
Segundo, CA 90245; (310)
El
535-9128;
fax:
[email protected];
www.methodfest.com
NASHVILLE INDEPENDENT FILM FESTIVAL, June

1 (final).
5-9,
Formerly the
Sinking Creek Film
& Video
running film fest
the South
$1,000
$66,000
cash or
of
cash & prizes
in
in
animation,
in
Festival, fest
$25
is
the longest-
Prairie
Village,
screenings,
will
win at
Fest awarded
over
4826 W. 77th
KS 66208; (913) 649-0244;
Terrace,
kdub@
CA. Deadline: Jan 31. Fourth annual fest
a unique full
new
films
&
incl.
workshops, panels,
awards
is
to introduce
all
in
in
a Regal
Los Angeles county, also qualifies the winner
23-27,
makers from
film
into the
youth
for
Independent Film Festival Dreammaker Award which
Academy Award
consideration. 1st prize
& animation
in
the short
cats also qualifies winner for
Italy
consideration. Formats:
35mm, 16mm,
new millennium.
Beta, DigiBeta. Preview on VHS. Entry Fee:
LAIFA's mission
ceremony.
short narrative, animation,
pilots only), family/children, short,
Academy Award
Cinema
incl.
closing
cats plus a special award, The Regal Cinema/Nashville
narrative
leading the Italian
&
media, children. Awards: cash prizes awarded
for
is
its
media.
doc, feature, student, experimental, young filmmakers,
TV (episodic &
Cinema
April
of the best
parties
grants the award-winning film a week's run
LOS ANGELES ITALIAN FILM FESTIVAL,

week
reputation for
independent
of
industry level workshops. Fest
8mm.
doc,
the last four years. Formats:
Contact: KCFJ,
(final).
int'l
programs over 150 films & provides high-end
formats accepted. Preview on VHS. Entry Fee: $20
(early);
w/an
Festival
each genre
prizes.
in
annual event
NYC
to
16mm, 35mm,
& encouragement
kcjubilee.org; www.kcjubilee.org
LOWEST RATES
Awards
support
short films 30 min. or less.
int'l
underground. Awards: Top film
all
&
experimental,
narrative,
least
MEDIA
& 5000
various cats, film services
feet of Fuji Motion Picture Film to winning film.
KS.
4-8,
April
(early); Jan. 1 (final). 6th
domestic
to
Cats:
AND MERIDIEN BOARD
Founded:
1999. Cats: Feature, Short, student, children. Awards:
658-6346; [email protected]; www.israelfilm-
open
COMPOSER
Seeking story driven
film.
acting performances.
fest.com
KANSAS CITY FILMMAKERS JUBILEE,
AVID MEDIA
Named
CA 90048; (323) 966-4166; (877) 966-5566;
Apr. 12-
for the 'Stanislavski Method,' fest highlights the great
TN. Deadline: Dec. 21 (early); Feb.
rEp LI -jT d? rED dS -jT

VTD EtT P STP R D-D LteTI N
FESTIVAL,
19, CA. Deadline: Dec. 15 (early); Feb. 1 (late).
& promote new
$10 (young
Italian
filmmaker-high school age or younger); $30/$35 (under
B N 1TH ST. BROOKLYN, NY 11211

7TB-599-23B5 WWW.aLrTPOSTVIDED.CDM
1
movies
to the
Hollywood film community
&
to the gener-
60 min.);
al
public, while celebrating the classical Italian
$40/$50 (over 60
of
min.).
Contact:
Brian
Cinema
Gordon, exec,
as well. Fest consists
dir.,
Box 24330, Nashville, TN 37202;
competitions of the best Italian

films of
2000-2001
in
several cats
in
addition to special
www.nashvillefilmfest.org
tributes
46
THE INDEPENDENT
December 2001
&
retrospective. Founded:
1998. Awards: The
NEW ENGLAND FILM & VIDEO

MA. Deadline: Dec.
New
15.
FESTIVAL,
any independent video or filmmaker who

student
New
in
England states:
&
upstate NY, north of
dency required
a resident or
is
ME, MA, NH,
CT,
Rl, VT,
Westchester County,
incl.
open
for eligibility). Also
pri-
new works by
regional test devoted to
mary competitive
8-13,
April
England's 27th annual
to
(resi-
any under-
graduate or graduate student who has completed his or
New
her works while attending a
any undergraduate or graduate who main-
University, or
New
tains
England college or
England residency while attending college
elsewhere. Student entries must have been completed

while a student.
Cats:
All
&
lengths
genres, doc, exper-
imental, animation, feature, short. Awards:
$7,000
cash & services
in
is
total
NO DANCE FILM & MULTIMEDIA FESTIVAL,
in
Nodance caters
VHS. Entry Fee: $35
Film / Video
MA
02215; (617) 536-1540
x.
first
Boston
18; fax:
competition films on DVD.

script, short,
30,000.
Best Doc; Jury
703
& audience awards;
Deadline:
NY.
Committed
to
22
Dec.
Contact:
(int'l).
Raymond Murray,
Market Street, 5th
733-0608
ext.
219;
&
presenting diverse
programs, test showcases
media
digital
all
(final).
culturally inclusive
genres
of film, video
&
dramatic features
(incl.
w/
submit programs
10 min
to
under
length. Fest
in
The Traveling
is
Social
work made
technologies,
all
Conscience
the
being
criterion
the aesthetic of the elec-
&
shorts,
&
experimental works)
by, for, or of interest to les-
men, bisexuals, or transgendered persons.
bians, gay
will
&
tour
New York
awards
incl.
&
Proposals for lecture
film-clip pre-
media
also accepted.
installations
interactive
Founded:
1989.
Cats: feature, doc, experimental, short. Awards: Jury
Formats & preview: 3/4",
London, Boston, and San Francisco, the Human Rights Watch Inter-
S-VHS. Founded: 1996.
Hi-8,
a leading venue for the finest fiction and
is
Cats: Non-narrative, Electronic
documentary films that deal with human
Best Narrative Feature, Best Feature Doc &
for
main goal
is
to
show the power
Digital,
CD-ROM,
Preview on mini-DV.
petitive.
Lancaster
most evident
Cherry
St.,
festival
will
be distributing
Winning
film
Jung (War):
its
2001 Nestor Almendros Prize-
Valley,
In the
NY 13320; (607) 264-3476;

264-3476;
notstillart
improvart.com;
www.improv
of
35mm, 16mm,
3/4",
VHS. Entry Fee: $15

Tsiokos,
(early);
47 Great Jones
254-7228;
(212)
SR
1/2", Beta
$25
(final).
6th fl
St.,
Beta. Preview on
Contact: Basil
New York, NY 10012;
Land of the Mujaheddin
two
NEW YORK UNDERGROUND FILM
FESTIVAL, March 6-
(early); Dec.
15
NYC's
(final).
premiere showcase for films that go beyond mainstream
& commercial concerns.
Founded: 1994.
Cats: narrative feature, narrative short, doc, experimen-
animation. Awards: Juried prizes for Best Feature,
tal,
Best Short,
Best doc,
plus
imental,
35mm, 16mm,
the
Best Animation,
choice
Festival
1/2",
super
8,
Best Exper-
award.
Formats:
Beta. Preview on VHS.
among
audiences,
OUTFEST
of
filmmakers
&
is
late:
to build bridges
entertainment
the
industry through the exhibition of high-quality gay, les-
& transgender themed
bisexual
bian,
films
communities
diverse
the
California. Outfest also offers a

yr.
as well
round,
as
weekly screening series
screenwriting
competition.
Founded: 1982. Cats: Feature, Doc, Short, Gay/Lesbian,

Animation,
Experimental.
$500
Awards:
Fourteen
awards
35mm, 16mm,
ranging from
3/4", 1/2". Preview on VHS. Entry Fee: Features (over
10003; (212) 340-9476;
fax:
675-
1152; [email protected]; www.nyuff.com
min.):
$20 by
length
& 25
15.
petition
of the
ic)
short films chosen to
&/or exhibited
Formats:
All
Place,
Ste.
Contact:
1125
Festival,
235, Los Angeles,
CA 90038;
compete
for
one
of
$50
www.outfest.org
PHILADELPHIA FESTIVAL OF WORLD CINEMA,

15,
optical (not
English or
70mm, 35mm, 16mm.

(feature);
$40
Mahoney, 4540 Campus

fax:
the world.
transgen-
All
its
genres & lengths accepted.
kind
in
Founded:
1981. Cats: Any style or genre, Feature, Experimental,

Animation, Short, doc. Awards: Cash prizes, awarded by
category, totalling $3000. Formats:
Beta
SP Preview on VHS.
$10
for
each additional
35mm, 16mm,
Entry Fee:
$15
3/4",
for first entry.
Contact:
entry.
Filmmakers, 5243 North Clark, Chicago,
c/o
IL,
Chicago
USA 60640;
(773) 293-1447; fax: 293-0575; reeling@chicagofilm-
makers.org; www.chicagofilmmakers.org
ROSEBUD FILM & VIDEO

Awards Ceremony
FESTIVAL. March 23-24.
April.
in
w/
magnet-
Deadline:
DC.
Preview on VHS.
Joseph
Newport Beach, CA
949-253-2881; nbff@pac-
www.newportbeachfilmfest.com
1990
in
to
20.
Jan.
promote independent
PA.
Annual competitive fest organized
April 4-
&
a diversity of
a region-wide celebration of
personal"
mieres of
utes,
int'l
filmmaking culminating
cinema." Fest
& US independents,
video
the Washington,
DC
in
creative film
&
area.
The goal
is to
video making. This competi-
accepts works completed or
January 2000 & January 2002.
released from
or
directors
who
are
current
residents
of
pre-
classic cinema, trib-
guest filmmakers, seminars, panel discussions,
&
first
Eligible entrants are pro-
in
ducers
incls.
Cine Cafes, extensive press coverage, parties
in
by the
Philadelphia Film Society offers "an enriching view of
world culture
&
honor the "innovative, experimental, unusual or deeply
tion
English subti-
(short). Contact:
Drive,
Rosebud was formed

film
the "special screening" section
in
&
10
must have
in
films
92660; 949-253-2880;
bell.net;
$25 by Mar.31. Shorts: $10 by
Mar.31.
may be excluded from com-
preferred, films
program.
Entry Fee:
60
(323) 960-9200; fax: (323) 960 2397; outfest@out-
sound. Films must be
tles.
by
Deadline: January 8. Annual fest
IL.
Approximately 75 feature
fest.org;
If
$2,000. Formats:
INT'L FILM FESTIVAL, April 11-19,
Deadline: January
awards.
to
Jan. 31;
$15
Jan.31;
McCadden
CA.
&
Southern
of
FESTIVAL, Summer,
seeks wide variety of lesbian, gay, bisexual,
videos,
highlighted by an annual fest, that enlighten, educate
entertain
REELING: CHICAGO LESBIAN & GAY INT'L FILM
dered films & videos for second oldest fest of
&
#232 New York, NY
NEWPORT BEACH
listing.
GAY & LESBIAN FILM FESTI-
Entry Fee: $30; $35. Contact: Ed Halter, 151 1st Ave.

,
about the heroic efforts
OUTFEST: THE LOS ANGELES
March 31. The mission
expectations
is
present day Afghanistan. See
fax:
Deadline: Dec.
in
the
art.com/nsa/
www.newfest.org
NY
men
Italian
in
American
of presenting a strong alternative viewpoint to the
VAL, July 11-22, CA. Deadline: early: January 31;
12,
this year as the
Box 496, 33
NSAF,
Contact:
fax:
festi-
that film has to reach across
public about the Afghani people. The film

Best Short, Audience Award. Formats:
The
rights themes.
non-com-
Awards:
Imaging.
hopes
awards
with addi-
tional festivals presented
ideological boundaries. That will be
&
sentations, curated film/video programs
City,
be broadcast.
val's
Jury
13th year in
its
tronic screen. Screenings
national Film Festival
docs
733-0637; filmsoci-
(215)
fax:
in
imag-
in
new
234
Artistic Director,
Philadelphia, PA 19106; (215)
Fir.,
non-narrative
motion
music /sound design,
w/
FESTIVAL, June 6Feb.
Beta,
[email protected]; www.phillyfests.com
conjunction
in
primary
(early);
artistic
16mm,
Beta SR Preview on VHS. Entry Fee: $15 (US), $20
Enjoying
16,
&
Liftime
achievement awards. Formats: 35mm,
Deadline:
NY.
premieres.
Philadelphia
experimental, any style or genre. Awards: Best Feature;
Dec. 15. Annual fest invites media artists working
&
must be
&
fest director,
26-27,
April
Entries
Founded: 1991. Cats: Feature, Doc, Short, animation,
937-6363; [email protected]; www.nodance.com
& about 100 docs &
over 100 features,
anima-
Audience,
Jury,
a fest w/in
536-
3576; [email protected]; www.bfvf.org
NEW YORK LESBIAN AND GAY FILM
have included
Previous tests
shorts from 40 countries, w/ audiences estimated at
digital film-
Avenue #675, Hermosa Beach, CA 90254; (310)
Pier
interested in
Boston,
Utah during Sundance.
filmmakers &
James Boyd,
Entry Fee: $30. Contact:
#201,
St.
Fest also incls. "Festival of Independents"

the fest, showcasing local filmmakers.
Alternative
Golden Orbs Awards. Formats: DVD. Preview on VHS.
of
Preview on
Contact:
entries).
1126 Boylston
Foundation,
all
Jan. 11-18,
(final).
sever-
$25 (students,
(first entry);
$10 (any additional
entry);
8mm.
3/4",
City,
music video. Awards: Grand
tion,
electronic
35mm, 16mm,
Park
in
to first-time
16
Founded: 1998. Cats: doc, feature,
ing,
video. Formats:
(early); Dec.
making. Nodance screens
independent & student cats w/ distinctions for film &
al
based
film fest
abstract
awarded. Awards
16
UT. Deadline: Nov.
more.
Washington, DC, Maryland, or Virginia (exceptions are
made
for
students temporarily living out of the area or
those away on work assignment). Works accepted

cats,
any
style or genre.
December 2001
in all
Works-in-progress/trailers/pro-
THE INDEPENDENT
47
mos
muddy
-'Hm&lBig
MARCH
3,
if
they stand on their own. Twenty
cash,
trophy,
multiple
area
supplies.
Community
Arlington
incl.
television
Founded: 1990.
Awards
35mm, 16mm,
VHS. Entry Fee: Entry fee
2002
&
theatrical
Cats: any style or genre. Awards:
tape stock. Formats:
Awards
of judges.
& equipment &
screenings,
Best of Show are cho-
five winners, incl. a
sen by an independent panel
film festival
FEBRUARY ;22
welcome
are also
nominees &
cash
incl.
&
Beta SR Preview on
incls. a one-yr.
membership
to
Television, the sponsoring organi-
zation). Contact: Chris Griffin or Jackie Steven, Festival
2701-C Wilson
Directors,
524-2388;
(703)
dact.org
CALL FOR ENTRIES
SAN FRANCISCO INT'L FILM FESTIVAL,
FORMAT: 16mm
14,
1/2"
2002
3/4", DV,
Chris
908-9239;
[email protected]; www.rosebu-
Channel33.org;
DEADLINE: JANUARY
VA 22201;
Blvd., Arlington,
(703)
fax:
CA. Deadline: Dec.
DVM |
&
mental
TV); Jan. 3
1957 & the oldest
18-May
April
2,
(docs, shorts, animation, experi-
Founded
(narrative features).
in
film test in america, SFIFF is present-
ed each spring by the San Francisco Film Society showcasing approx. 200 features, docs & shorts; test
icated to highlighting current trends
w/an emphasis on work w/out US

sections:
the
ILLINOIS UNIVERSITY
awards &
Dept. of Cinema and Photography.
Carbondale,
IL
FAX 6
www.bigmuddyfilm.conl
8.453.2264
youth media,
--
section
doc,
for
any
TV,
Bay Area Divisions
style or genre.
Awards:
awards
&
the film
in
will
Best Doc, Best Bay Area Doc, Best Short
for
cash. Narrative features by emerging filmmakers
SKYY
Prize, a juried
35mm, 16mm,
DigiBeta, super 8,
8mm,
VHS
incl.
Best
Noncompetitive
3/4",
Owens
J.
Beta,
70mm, DVD,
Hi8,
eli-
$10,000
of
Kurosawa Award; Peter
Akira
incl.
Award. Formats:
on
1/2".
Beta SP
Preview
DVD. Entry Fee: $45-200(depending on length
or
of film or video).
Contact Doug Jones, 39 Mesa
110, The Presidio, San Francisco,
561-5000;
fax:
St., Ste.
CA 94129-1025; (415)
561-5099; [email protected]; www.sffs.org
SAN FRANCISCO INT'L LESBIAN & GAY FILM FESTIVAL,

June 14-24, CA. Deadline: Jan.
SFILGFF
Gay,
is
committed
Bisexual
miered
nat'lly
&
int'lly.
& Transgender
premieres.
24
Film.
(late).
Many works
programmed
Rough cuts accepted
mitted on 1/2". Entries
Awards:
4. Jan.
The
to screening the best in Lesbian,
fest go on to be
in
pre-
or distributed
for preview
if
sub-
must be San Francisco Bay Area
Founded: 1976. Cats: any style or genre.
Frameline Award,
Audience Award,
Dockers
Khakis 1st Feature Aaward ($10,000). Fest produced by

Frameline, nonprofit arts organization dedicated to gay
lesbian media arts.

Phone: (662) 494-5836
Fax: (662) 494-9900
cash award
Best Doc Feature.
Feature,
$1,000
incl.
outstanding filmmaking. Audience awards
awards
&
Grand
in
Narrative

Visions
fest for
Best Bay Area Short. Grand Prize awards
gible for the

New
video,
compete during the
Golden
incl.
of merit. All
&
for
&
Founded: 1957. Cats: feature, doc,
TV.
Golden Gate winners
Prize
special
animation,
shorts,
Gate Award w/ $500 cash & certificates
'k^M
&
animation, experimental, music video, student,
short,
618.453.1482
&
experimental
62901 -6610
has two
distrib. Fest
tributes recognizing individual acheivement;
competitive
the
ded-
video,
noncompetitive section for
invitational,
recent features, archival presentations, retros
SOUTHERN
is
&
film
in int'l
Formats:
35mm, 16mm.
&
3/4", 1/2",
Beta SR Beta. VHS- NTSC/PAL. Entry Fee: $20-$30.

Contact: Jennifer Morris, Co-Director, Frameline, 346 9th
St.,
San Francisco, CA 94103; (415) 703-8650;
fax:
861-1404; [email protected]; www.frameline.org
A Proud
Rhode
SANTA BARBARA INT'L FILM FESTIVAL. Feb 27- March

3,

48
THE INDEPENDENT
December 2001
CA. Deadline: Dec. 10. This annual fest
to diverse
programming &
is
committed
highlighting independent films
&
that define
&
galas
videos,
day
winners
in
35mm, 16mm,
Founded:
cats.
who
VHS (NTSC&
$40
PAL). Entry Fee:
SR
DV.
&
Latino
Tributes;
incl.
demonstrations focusing on
Native
media.
of
state
Entries
should have been completed w/in 18 months of fest
Preview
$45
(US);
shorts during four-
Forum w/panel discussions, workshops &
Literacy
Formats:
1986.
3/4", 1/2", DigiBeta, Beta
Highlights
fest.
&
features, docs, videos
incl.
American programs, as well as comprehensive Media
over 40,000 film fans. Fest
competitive w/ jury of industry professionals
select
on
&
guests
program over 150 new indie films &
fest organizers
com-
condition. Fest
seminars, workshops, tributes,
special events. Attended by industry profession-
als, press, celebrity

is
human
explore the
prises over 70 films,
Beta, Beta
$20 US, $30
premieres.
90012-3805;
Contact:
VC
CA
Intl.
St.,
213/680-4462;
213/687-4848;
fax:
[email protected]; www.vconline.org
&
& VIDEO FESTIVAL,
INT'L FILM
Fest also features
Nov
April 5-14, TX. Deadline: Early:
15; Regular:
number
Late: Jan 15. WorldFest has reduced the
screened
w/
mieres,
approach
FILM
March
FESTIVAL,
1-3,
(early); Jan.
tures the finest
(final).
35mm, 16mm,
&
int'l
&
doc (features
35mm. Preview
&
$50
under);
(features);
1.
$10 discount
282-0747;
&
fax:
751-7385;
Museum
The
Hwy
of Television
taries of the past

to
& Radio hosts
showcases the outstanding
that
yr.
15.
Over $10,000
documen-
35mm, 16mm,
chance
important doc makers. The two-week fest con-
sists of
docs that have aired & premieres
grams.
In
of unaired pro-
US &
30,000 over 9 days. Entries must be completed
in
DigiBeta, U-
$40-$90. Contact:
Entry Fee:
Hunter Todd, Festival Director, Box
J.
56566, Houston, TX 77256; (713) 965-9955/(800) 524-
addition, a sidebar of three to six
programs
will
1438;
965-9960;
(713)
fax:
[email protected];
www.worldfest.org
work
specific
prominent documentarian
of either a
Founded:
genre.
2000.
Cats:
doc,
TV.
2001 & must not have previosuly screened

TX
VHS. Entry Fee: No entry
fee. Contact:
Museum
&
Ron Simon/Allen
in
Glover,
consideration.
for
International
2000
or early
of Television
HONG KONG
Street,
New
INT'L FILM FESTIVAL, March 26-Apnl 10,
West 52nd
Radio, 25
China.
Film
Deadline:
selection
of
Asian,
Int'l,
HKIFF regularly
incls.
&
Cinema
Dec.
Early
NY 10019; (212) 621-6600; (212)
York,
the event, featuring four days of
off
SR S-VHS,
CD-ROM, Web. Preview on VHS.
matic, DVD,
int'l
Austin,
Conference kicks
3/4", 1/2", Beta
8-16,
features for audiences estimated at
eligible
in
screenplays also have competition.
& conference showcases
video fest
be
cash & equipment awards. Formats:
annual fest
see quality work (on the big screen) & to celebrate the
of
&
this
giving the public a second
Awards: Student Awards
children, family.
TV,
Program. Scripts
television
Formats: S-VHS, Beta, Beta SR DigiBeta, DV. Preview on
to
&
plus distribution
directing,
[email protected];
media,
or
over 200 shorts
&
on writing, producing
87571;
TELEVISION DOC FESTIVAL, May, NY Deadline: Dec.
highlight the
&
indepen-
video,
Fest also offers 3-day seminars
experimental, animation, music video, student, youth
work
TX. Deadline: Nov. 16 (early); Dec. 10 (final).
751-0637;
(505)
[email protected];
SOUTH BY SOUTHWEST FILM FESTIVAL, March
TV.
www.ttpix.org
www.sdonafilmfest.com
independent film
NM
Best
(800) 780-2787 or
282-5358;
fax:
&
finance. Founded: 1961. Cats: feature, doc, short, script,
for entries post-
Contact: Festival, 1725 W.
Associated market
Programming,
of
Dir.
Ste. B, Taos,
16mm,
short films. Formats:
#2, Sedona, AZ 86336;
89A, Ste.
7217 NDCBU, 1337 Gusdorf Rd.
on VHS. Entry Fee: $35 (shorts, 30 min.
marked before Dec.
(520)
&
Clement,
Kelly
& Germany.
documetaries,
shorts,
dent/experimental
shorts), ani-
mation, feature, short. Awards: Audience choice

of Festival for full-length
&
int'l
independent
in-depth work-
&
features,
for
entries). Contact:
Cats: dramatic
60 feature & 100 short pre-
Beta SR S-VHS.
1/2",
Annual fest fea-
& an
cinema, tributes, panel discussons

shops.
medium.
cinematic
Mexico, Canada, France

3/4",
Preview on VHS. Entry Fee: $15-$40 (no fee for
current American
in
and/or
storytelling
to
AZ.
Formats:
Deadline: Dec.
of
absolute emphasis on American
Independent feature films. Fest honors films from
Int'l
INT'L
&
a total
acres to one film (over 70 min.) that applies a fresh
2524; [email protected]; www.sbfilmfest.org
SEDONA
maximum
to a
Awards: Melies Short Film Award; Land Grant award: 5
962-
fax:
15;
of films
animation, music video, Any style or genre.
imental,
Docs & Shorts, 2064 Alameda Padre Serra, Suite 120,

Santa Barbara, CA 93103; (805) 963-0023;
Dec
Teen Media Conference. Cats: feature, doc, short, exper-
Candace Schermerhom-
Contact: Alisa Katz-Features /
8mm,
Los Angeles,
$30 US; $40
Late:
Intl;
120 Judge John Aiso
Filmfest,
1/2",
3/4". Preview on VHS. Entry Fee: Early:
SR
WORLDFEST HOUSTON
New Mexico
should be
(int'l).
16mm, 35mm,
experimental. Formats:
tion,
Hong
Kong
621-6699; [email protected]; www.mtr.org

panel discussions geared toward working film
makers as well as screenwriters, as
&
ers, aspiring professionals
&
among 200
Retrospectives
video-
UNITED STATES SUPER
well as screenwrit-
8MM
FESTIVAL, February 15-17,
aficionados. 3-day trade
FILM & DIGITAL VIDEO

Deadline: January 18.
NJ.
films
&
videos screened at
various venues. The fest has been recognized as a valuable
showcase
for Asian
works that allows the West
to
show
equipment & service providers,
incl.
&
suite,
Feature,
the latest
Doc,
short.
Awards:
Doc.
Short,
in
&
film
digital editing
video technology. Cats:
Music Video,
Experimental, Animation,
Narr. Feature,
Anim.
Short,
Nam
Exp.
Contact: Angela Lee,
Programmer, Box
Sr.
4999, Austin, IX 78765; (512) 467-7979;
467-
fax:
0737; [email protected]; www.sxsw.com
predominantly originated on Super 8 film or hi-8 or
doc, short, animation.
mandate
video. Festival
is
to
spread the
Toward that end the
Rutgers
touring
word.
past several years,
Cats: any style or genre. Awards: $2,500
of
prizes; selected
winners go on Best of Fest

8,
16mm, 8mm,
directors,
&
industry
for the
networking
&
Int'l
1/2",
Tour.
3/4",
&
Leisure
fee.
Formats:
Contact:
35mm, 16mm.
Programmes
Film
Department,
Services
Cultural
Administration
Hong Kong
Bldg.,
Cultural
2734
852
Oil
2903;
fax:
is
contact opportunities
it
7,
10
852
2366
5206;
[email protected]; www.hkiff.org.hk
INSIDE OUT: TORONTO LESBIAN AND GAY FILM &
now
in its
Deadline: Jan.
11th fabulous year,
an exciting &
is
Do not send
important venue for queer filmmakers from around the
cash). Contact: Al Nigrin, Rutgers Film
Co-op/New Jersey
Media Arts Center, 131 George
108 Ruth Adams
world.
St.,
Fest
hosts the
Canada & one
writ-
The fest
professionals.
Level
Centre,
DV.
ded-
new & emerging
& master classes w/
Entry
Office,
Hong Kong, China:
Salisbury Rd., Tsimshatsui. Kowloon,
15. Fest,
in
largest
& gay
lesbian
screened more than 300 films & videos
New
Brunswick, NJ 08901; (732)
pro-
932-8482;
fax:
fest
in
of the largest in the world. Last year's fest
Cinema Studies,
is
Rutgers University,
known
cash &
No entry
Preview on VHS. Entry Fee: $35 (check or money order
Bldg-Douglass Campus, Program

ers,
in
payable to Rutgers Film Co-op/NJMAC.
work
Co-
Film
programs,
Fee:
VIDEO FESTIVAL, May 16-26, Canada.
Feb. 1-3, TX. Deadline: Dec. 15. 3rd annual fest

icated to bringing to light the
dig-
which have travelled extensively & seen new audiences.
Formats: Hi8, super
SPINDLETOP/LAMAR UNIVERSITY FILM FESTIVAL,
filmmakers. Enjoy workshops
digi-
8mm &
op/NJMAC has sponsored seven

culled from fest winners for the
SP
Preview on VHS. Entry Fee: $20/$25 (shorts); $30/$35

(features).
discover the riches of Chinese cinema. Cats: feature,
ital
Music Video,
Beta
Annual fest encourages any genre, but work must have
tal
Short, Doc. Feature,
Short,
35mm, 16mm,
Audience Awards. Formats:
w/
84 programs
in
sold out screenings daily.ln the past
yr.
fest
has
[email protected]; www.
932-1935;
vides for participants. Cats: experimental, feature, nar-
assisted
in
securing theatrical
& broadcast
distribution
njfilmfest.com
rative, "1st
mation,
time/novice" filmmaker, music video, ani-
"old
DigiBeta, Beta
timers".
SR
Box 10050
8,
Beta, 1/2", S-VHS, 3/4", Hi8, DV, U-
matic. Entry Fee: $20;

Stanley, Dept. of
16mm, super
Formats:
$15
(student). Contact: O'Brien
Communication/Lamar
University, RO.
Beaumont, TX 77710; (409) 880-7222;
[email protected]; www.spinfest.com.
TAOS TALKING PICTURE FESTIVAL,
for several films
VISUAL COMMUNICATIONS LOS ANGELES ASIAN
& VIDEO FESTIVAL, May
PACIFIC FILM
Deadline:
Dec. 8 (early); Jan.
munications,
the
American media
cle to
an
is
known
premier
nation's
promote Asian & Asian
The Fest has grown from
17-24, CA.
Visual
Asian
its
&
Pacific
American cinema.
It
is in
& videos through our
& TV
entities.
Fest
is
relationships
hospitality
&
programming, but an excellent opportunity
to
anticipated cultural event renowned for

integrity in
network w/ other independent film

interested
Cats:
w/
not only a highly
industry
feature,
doc,
&
representatives.
short,
its
video makers
Founded:
animation,
music video, student, youth media,
&
1991.
experimental,
family, children. TV.
showcase presenting the best
of
Awards: Awards are given
for
both local
&
int'l
work. The
colony more
for eclectic
philosophies.
Pacific
beginnings as a weekend
& Asian
int'l
media
in
the United
Bulloch Award for Best Canadien Work, the Akau
Award
mixture of
States. Founded: 1983. Cats: feature, doc, short,
cultures, traditions
Com-
film
11-14, NM.
April
artists'
Asian Pacific American

than a century ago, Taos
(late).
arts center, established Fest as a vehi-
series into an annual

Deadline-. Jan. 15. Established as
12
Canadian
anima-
for
Best Lesbian Short, the Cruiseline Award for Best gay
this light that
December AVI
THE INDEPENDENT
49
NAATA MEDIA FUND

With support from the Corporation for
Public Broadcasting, the National Asian

(NAATA) provides production and
completion funds for Asian American film
and video projects that have potential for
Male Short, & the Charles

Emerging Toronto
Showcase Award
Award
for
&
the Mikey Award for Best Short.
more than $5,000
all,
cash & prizes
in
35mm, 16mm,
Formats:
ally.
8mm,
Coombes,
Carol
No entry
Fee:
Contact:
fee.
Inside
Richmond
M5V
ANCESTORS IN THE AMERICAS

THE DEBUT by Gene Cajayon
DREAM CATCHER by Ed Radtke
FIRST PERSON PLURAL
[email protected]; www.insideout.on.ca/
No entry
fest administrator, Nat'l
Film Theatre, South Bank, Waterloo, London

:
401
Out,
West, Ste. 219, Toronto, Ontario, Canada
St.
3A8; (416) 977-6847;
UK SE1
44 20 7633 0786;
fax:
[email protected]; www.bfi.org.uk/llgff
977-8025; program-
fax:
Oil 44 20 7815 1323;
8XT;
MALMO CHILDREN & YOUNG PEOPLES

March 12-17, Sweden. Deadline: Dec.
OF KERALA, March
INT'L FILM FESTIVAL
by Deann Borshay Liem
in
Cats:
70mm, 35mm, 16mm,
Formats:
short.
3/4", 1/2". Preview on VHS. Entry Fee:
fee. Contact:
Preview on VHS.
Beta.
doc,
last 2 years.
in
Entry
RECENT MEDIA FUND HIGHLIGHTS
THE
feature,
In
awarded annu-
is
national public television broadcast.
by Loni Ding
UK & must have been produced
the
incl.
Best Feature, the Ellen Flanders
tor
Best Doc
Submissions must not have been previously screened
Video Award for Best
St.
Audience Awards
Artist.
29-April
India. Deadline:
January 31. This annual test
by the
State Chalachitra
Kerala
Academy under
about 100
petitive fest features
5,
shown
titles
to audi-
ences estimated at 13,000 over 5 days. Main feature
produced
is
FESTIVAL,
Annual com-
1.
latest films
the
from Nordic countries plus
is
Panorama.
Int'l
FLIP SIDE by Rod Pulido
RABBIT
IN
REGRETTO INFORM
literally
by Barbara
Jaysari Hart
answer
civilisational
&
picture,
in
the
the visual
Academy
is
medium. IFFK
is
medium
of the best the
seminar
incls.
&
teachers
for
theme each
film; different
devot-
to the cultural ailments of present
day humanity & a celebration
year.
Film Institute
&
seminars
people working w/film. Fest
for
Film
ing place for the
Skane. Fest also
&
Children
who use
others
Co-produced w/ Swedish
also meet-
is
Youth film
&
debates
incls.
Northern
in
by Taggart Siegel and Jim McSilver
TURBANS
means motion
ed to promoting the best
Sonneborn and Janet Cole
ROOTS IN THE SAND by

THE SPLIT HORN
Program
Ministry of Cultural Affairs, Govt, of Kerala. Chalachitra
MOON
THE
by Emiko Omori
by Erika Surat Andersen
has
&
to offer. 'To see, to feel,
to feel to think', is the
Europe. Categories include: Feature, Doc, Experimental,
motto of IFFK. Founded: 1994. Cats: feature, short, doc,
Short, Animation.
animation, student. Awards: Suvarna Chakoram Awards
doc.
for
Best Feature; Best Director; Special Jury Award for
Cinematic
Art;
& Audience
70mm, 35mm, 16mm,

(PAL/NTSC/SECAM).
Alikoya
Exec.
Dir.,
Prize for Best Film. Formats:
Beta SR
Beta,
Entry
Fee:
VHS
U-matic.
none.
Contact:
AV
Kerala State Chalachitra Academy,
Elankom Gardens, Vellayambalam, Thiruvananthapuram,

695010; Oil 91 471 310 323;
Kerala, India
91 471
fax:
Founded: 1984. Cats: feature, short,
Awards:
animation.
SEK50.000 ($5,400)
16mm. Preview
Contact:
on
Lennart
Sweden S-201
City
VHS.
Entry
Strom,
21; Oil
Box
Malmo
Award
Formats:
35mm,
of
best film.
to
Fee:
No Entry
46 40 30 91 64;
fax:
Fee.
Malmo,
S-201,
179,
46 40 30
53 22; [email protected]; www.buff.nu
OBERHAUSEN
INT'L
SHORT FILM FESTIVAL, May
Germany. Deadline: Jan.
15.
2-7,
The world's oldest short
film
310 322; [email protected]; www.keralafilm.com

fest offers a
OF URUGUAY,
INT'L FILM FESTIVAL
Apr. 27,
Latin
must
promoting film
of the
length,
doc,
& human & conceptual
&
jects
mutual
of
Info
Int'l
of
values. Ind. test aims at
& discussions
of regional pro-
has 4 sections:
interest. Fest
Length Film Show;
experimental,
w/ purpose
films,
int'l
fiction,
Doc & Experimental Film Show;
Show; Espacio Uruguay. Films should be
have Spanish version, or have a
Encoding
Authoring
Editing
Mastering
Portuguese for us to translate. Films wishing
Replication
Transfer
should have been finished after Jan.
translated
into
Int'l Full
Spanish
or
list
of texts or dialogues
French
English,
in
subtitled,
of
or
compete
to
prior year.
Founded: 1982. Cats: feature, doc, short, experimental,

animation, student. Awards: Best Film; Jury Prize; Opera
Prima
Preview on
Manuel

From
to Digibeta
DV
35mm, 16mm, S-VHS,
Formats:
Prize.
VHS.
Entry
Martinez
No entry
Fee:
Lorenzo
Carril,
U-matic.
fee.
Contact:
1311,
Carnelli
Montevideo, Uruguay 11200; Oil 5982 408 2460; 409
5795;
fax:
5982 409 4572; [email protected];
ALL TRUE INT'L DOC FILM FESTIVAL,
Brazil. Deadline: Jan. 15.
productions
mote the doc
in
film
A leading forum
&
video form
&
Festival
Dir.,
Youth Competitions
after Jan.
submitted works must be viewed
All
by an independent selection committee appointed by the
70
Approx.
fest.
titles
be
will
selected
by the
Int'l
Competition. Founded: 1954. Cats: Short, Any style or

genre, Children, Music Video. Awards:
Jury of
Int'l
prizes worth a total of
DEM
75,000
Prize,
compete
for
(approx. $32,000).
35mm, 16mm, 8mm, S-VHS,
Formats:
Grand
incl.
Film Critics award. Works will
Beta SP/PAL, U-
matic (PAL, SECAM, NTSC). Preview on VHS. Entry Fee:
No
entry
fee.
Sabine
Contact:
Oberhausen,
Kurzfilmtage
Niewalda,
Int'l
Oberhausen.
34,
Grillostr.
Germany D-46045; Oil 49 208 825 2652;
fax:
49 208
825 5413; [email protected]; www.kurzfilmtage.de
ON THE FLY FESTIVAL OF VIDEO SHORTS,
Spring,
Canada. Deadline: December. The shot-in-a-day, cut-ina-day, screened-in-a-day fest of no-budget narrative
video shorts. An amazing mix of work by directors rang-
fee.
Sao Paolo - SR
fiction-
the art XLI Mini DV camera,
to pro-
shoot their 10 minute stories
Beta.
1996.
Preview on
Contact: Amir Labaki,
Woodland Hills , CA
55.11.3062.9601;
fax:
Brasil
05417.020; Oil
55.11.3062.9601;
itsalltrue
UK. Deadline: Dec. 14. Annual
selected by
cheap,
random
fast, gritty
camera &
&
int'l
April
in
24 hours
lottery.
lesbian
& gay
a deadline.
you need
Awards: Production equipment,
vices
&
is
it
a story, a
digital editing ser-
prizes for best overall short, best first short,
excellence
in
videography, excellence
No entry
in editing.
fee. Contact: Scott

St.,
Toronto,
Formats:
McLaren, PO
Canada m6glc5;
3-17.
or
416-516-8459; [email protected];
noncompetitive fest
&
They
Founded: 1995. Cats: narrative
short.
416-532-7553
identity
or less.
The test's motto: Make
www.popped.com/onthefly/stuff.html
addressing
to
state of
directors are challenged to
effective. All
Box 31038, 725 College
FESTIVAL.
&
Canon provides
are given another 24 hours to edit. Videomakers are
DV. Entry Fee:
kinoforum.org; www.itsalltrue.com.br
LONDON LESBIAN & GAY FILM
never-picked-up-a-camera-before ingenues
multiple feature film directors.
non
Associacao Cultural Kinoforum, Rua Simao
Open 7 Days a Week
December 2001
previous year.
&
& have been made
aims
to increase the int'l
35mm, 16mm,
VHS. Entry Fee: No entry
Alvares, 784/2,
THE INDEPENDENT
Children's
11-21,
for
Latin America. Festival
Cats: doc. Formats:
50
&
April
debate & cooperation on the genre. Founded:
Wvvw.Authoringdvd.coni
Int'l
not exceed 35 min.
ing from
al
(818) 883-0888
the
technological innova-
www.cinemateca.org.uy
IT'S
in
&
for aesthetic
There are no limits as to form or genre
reflection.
& feature
being frame for meetings
3D Pinnacle
&
but films
quality
Editing Studios
Avid Media Composer
tion
Uruguay. Deadline: Jan. 31. Annual test devoted to short
American &
VIDEO
Mar. 23
forum
experience.
INT'L FILM FESTIVAL/FANTASPORTO, Feb. 15-
OPORTO
Mar.4, Portugal. Deadline: Dec. 15. Noncompetitive test
debuted
1981, founded by editors of film magazine
in
Cinema Novo & has evolved
into a competitive test for
&
features that focus on mystery, fantasy
sci-fi. Official
Section, competition for fantasy films; Directors' Week,
& 2nd
competition for 1st
Out
films (no thematic strings);
Competition for Films of the World, info section
of
w/ 2,500 seats
retro section. Festival runs in 6 theaters
altogether
& screens
200
nearly
features. Press cover-
age extensive from major newspapers, radio stations
TV networks. Entries must have been completed

vious 2 years. Awards:
16mm, 35mm. Preview
Formats:
Entry
No entry
Fee:
Mario
The Standby Program

AFFORDABLE SERVICES FOR ARTISTS AND ORGANIZATIONS
AUDIO & VIDEO POST PRODUCTION
Broadcast Quality Editing
Digital Effects
WEB & MULTI-MEDIA
The Standby Program
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W 26th Street,
New York, NY
12th
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fl.
10001
CONSULTATION
or
& Budgetary Advisement
www.standby.org
PUBLICATIONS
'FELIX
Jury.
&
[email protected]
J urna of Media Arts

'
212.206 7858
& Communications
or PAL).
Dorminsky,
-
sala
4050-048; Oil 351 222 076 050;
1.6, Porto, Portugal
222 076 059;
351
VHS (NTSC
on
Contact:
fee.
o
o
o
Best Special
Cinema Novo, Rua Anibal Cunha, 84
Director, c/o
fax:
pre-
in
Best Short Film, Special Award of the
Effects,
&
Best Film, Best Direction,
incl.
Best Screenplay,
Best Actor/Actress,
&
[email protected];
www.fantasporto.online.pt
QUEER CITY CINEMA,
May
Deadline: Jan. 15. Queer City

est ongoing lesbian
& gay
film
is
&
the largest
&
old-
video test between
Columbia & Ontario. Since
British
Canada.
(biannual),
Cinema
Queer
1996,
Cinema has curated a biannual lesbian & gay
City
film
&
video fest which programs works by independent queer
provocative
conceptual,
are
that
artists
& which
&
innovative
playful,
filrpta'ge
ultimately propose the idea that
t
identity
is
&
not fixed but fluid, multiple
animation,
experimental,
Cats:
feature,
script,
music video, student, youth media, family,
doc,
short,
16mm,
3/4", 1/2", S-VHS, Beta
No entry
SR super
8,
8mm.
Entry
Gary Varro, 2236 Osier Street,
1W8; 306-757-
Saskatchewan, Canada S4P
Regina,
6637;
fee. Contact:
chil-
35mm,
dren, TV, installation, any style or genre. Formats:
Fee:
Film Festival
contradictory.
306-757-6632; [email protected]
fax:
patico.ca
SPROCKETS TORONTO KIDS FILM FESTIVAL,
April
21, Canada. Deadline: Dec. 31. Fest, holding
its
submissions
edition, seeking
for its
12-
fourth
program which
classic
int'l
films.
opportunity to
world
&
event
Aim
learn
incls.
2-7 May 2002
tar-
gets children aged 4 to 16 presenting contemporary
&
Sprockets to give children an
of
about cultures from around the
behind-the-scenes film workshops
& more. Preview on VHS.
Contact: Toronto
Int'l
Film
www.kurzfilmtage.de
Festival Group, 2 Carlton St. Ste 1600, Toronto, Ontario,
Canada M5B
1J3;
967-7371;
(416)
fax:
closing date for entries 15 January
2002
967-9477;
[email protected]; www.bell.ca/filmfest
TURIN INT'L FESTIVAL OF LESBIAN & GAY FILMS,

24-Mayl,
running
Italy.
Deadline: Jan. 31.
gay
int'l
&
One
April
of the longest-
lesbian events. Entries should be by
lesbian/gay/bisexual/transgender filmmakers or address

related
themes &
between 3
juries:
Competition section divided
issues.
doc,
long feature
Panorama section features new
&
TV,
3/4", 1/2",
in
competition worth $1500.
35mm, 16mm,
mer, Piazza San Carlo 161,
888;
fax:
390
11
10123
535
assioma.com; www.turinglfilmfest.com
85 years
is
distributor,
and other
institutions
worldwide.
Ifyour new work
is
call.
Head program-
Torino, Italy;
796;
with
Formats:
Beta SR Preview on VHS. Entry
Fee: no entry fee. Contact: Angelo Acerbi,
experimen-
animation. Awards: Ottavio Mai Award presented to
Best Feature
534
productions.
int'l
Founded: 1986. Cats: doc, feature, short,

tal,
short feature.
390 11
510-643-2788
[email protected]
glfilmfest
December AY1
THE INDEPENDENT
51
(MÊUE)
MEMBERS ARE
LISTED
dios. Top 3
winners
FREE copy
receive
will
of
Screen
&
FREE OF CHARGE AS SPACE PERMITS. THE INDEPENDENT
Stage Play Marketing Secrets by James Russell. Each
RESERVES THE RIGHT TO EDIT FOR LENGTH AND MAKES
entry will
NO GUARANTEES ABOUT REPETITIONS OF A GIVEN NOTICE.
screenplay from
HSC. Entry
Deadlines:
1,
WORDS &
LIMIT SUBMISSIONS TO 60
HOW LONG
INDICATE
& coverage
receive 2-page critique
Mar.
Sept.
Saticoy Street,
5977; www.swiftsite.comine-vision2000
FOR
MAR. ISSUE). COMPLETE CONTACT INFO (NAME, ADDRESS
& PHONE) MUST ACCOMPANY ALL NOTICES. SEND
mryfilm@
aol.com
All
#303, Van Nuys, CA, 91406,
(818) 994-
$375 & agency recommendations.
gets
$25
(features),
HOLLYWOOD SCRIPTWRITING CONTEST:
To provide
new
entrants
receive professional critique. Deadline: Feb. 15. Winner
Contact:
(shorts).
$75
Entry fee:
(323)
252-4243;
[email protected]
TO:
WE TRY TO BE AS CURRENT AS POS-
[email protected].
valuable outlet for recognizing
& promoting
quality scripts
undiscov-
of
SIBLE, BUT
MCFC, Box
to:
Contact:17216
1.
INFO WILL BE CURRENT. DEADLINE: 1ST OF THE MONTH,

(E.G., JAN. 1
s.a.s.e.
(831) 646-0910;
PAGETURNERS SCREENPLAY CONTEST.

Dec.
TWO MONTHS PRIOR TO COVER
DATE
CA 93942;
111, Monterey,
$75 per screenplay.
fee:
&
of their
www.filmmonterey.com or send
DOUBLE-CHECK BEFORE SUBMITTING TAPES

ered
OR APPLICATIONS.
writers
MEMBERS CAN SEARCH THESE
AIVF
worldwide.
AND OTHER NOTICES AT WWW.AIVF.ORG.
Registered
feature
films
TV
dra-
(no
Competitions
mas
AMERICAN GEM SHORT SCRIPT CONTEST promotes and
new
supports
will
and continues
talent
opportunities for
new
all
produce the winning
pledge of creating
its
FilmMakers.com
artists in film.
script.
FilmMakers.com
pro-
will
vide the winner with the video tape copy of the film. Ten
dollars
from every entry
be donated to The FilmMakers
will
$500 and 5 percent
Film Fund.lst Prize:
of the
Draft software.
3rd Prize:
and Syd
2nd
$150 and
Prize:
$100 and
Final
Final Draft software.
$ 50
Final Draft software. 4th Prize:
Field Video. 5th Prize: $
Deadline:
gross
and
(within three years after completion of the film)
December
2001.
1,
for contest particulars.
50 and Syd
Visit
Field Video.
www.filmmakers.com
FilmMakers Magazine,
Contact:
2001 Screenplay Competition, RO.
B.
3489, Chatsworth,
CA, 91313-3489.
NV. Deadline: Feb
1.
A year-round
independent films and videos, showcasing nar-
and shorts with high
rative feature films
new, undistributed works. Formats:
motion
artistic
and enter-
scene
on
VHS.
Entry
16mm, 35mm,
[email protected]
Beta-
Entry
form
&
Winning
&
sent to agents
Winning
ers.
put together quality pieces of work
marketed
produc-
for
includes
"Set In Philadelphia" Screenwriting Competition.
the
screenplay
major studios
new
place
$2,000;
&
conferences
software.
Deadline: monthly. Contact: Hollywood
Entry
second
Dr., Ste.
(310) 288-1882; fax: 475-0193;
magazine.
15th
CA 90028;
Blvd., Ste. 213, Hollywood,
COUNTY
1605
(800)-
SCREENWRITING COMPETITION $2,002
IN
open
to
Hollywood Screenwriters Conference." Top 3 winners also
area.
All
receive free tuition and personal one-to-one consultations
all
Association's
with
industry
professionals
"Selling
to
Monterey on
April 20,
2002.
Award,"
be given
in
Day
Screenwriting
at
will
New $1,000
in
"On Location
recognition of an outstanding
50%
screenplay that includes at least
marked by
to
million),
submission.
if
be
screenplays
scripts.
Submit
early
contest limited to
Contact:
received.
Full
post-
$45 postmarked by Nov. 30,
2001, $55 afterwards. Discounts for submission
more
feature, short,
of
pgs). Entry fee: $35,
Oct. 31, 20011
character or story driven, feature film screenplays. Should

2 locations ideal, 10 or less characters,
TV (90-130
Monterey County
2002. Screenplays must not
length film or
(831)
of 2 or
first
500
turnaround,
produced at time
of
in
must not have been
WGA
signatory agency,
will
52
THE INDEPENDENT
&
7775
(323)
www.scripta-
screenwriting competition
screenwriters
in
is
the Greater Philadelphia
genres accepted, scripts
quality
high
be judged on over-
will
and genuine "Philadelphia
profile
in
story."
Grand
prize:
judges
the door LA package, notes from
&
more. Additional prize package
include the runner-up, and the Parisi
Award ($1,000)
for
the best screenplay by an author under 21 years old (see
website for complete prize
lists).
Entry fee $45, deadline
1/4/02. Contact: The Greater Philadelphia Film Office,
100 South Broad
St.,
Suite 600, Philadelphia, PA 19110,
686-2668, www.film.org/filmmakers/sip.html,
(215)
[email protected]
8TH ANNUAL SHORT SCREENPLAY COMPETITION
in
ING CONTEST: Open
to writers
Hollywood.
All
place
consider winners for
representation to production companies
PHILADELPHIA
all
MONTEREY COUNTY FILM COMMISSION SCREENWRIT-
$2,000; 2nd place $1,000; 3rd place $500; a prominent

agent, a
Contact:
CA 90046;
$50).
Hollywood,
[email protected];
$10,000 cash, foot
www.filmmonterey.org.
scripts to
1st.
PMB #200,
summer 2002. Any
tion
(if
you have
of
16mm
film to be
produced
subject or genre, original or adapta-
rights);
up to 30 min. low-budget pro-
sold,
preproduction or have been
submitted deadline. Prizes:
entry,
646-0910;
animation, TV movie, TV mini-series, TV series (currently
in
(late
top prize and
SET
Screenwriters
produce & Cine-Vision 2000
production or not). Each entry
$25,000. Deadlines: post-
prize
16
2002
American
in
April
Sunset Blvd.
valuable Hollywood contacts. Includes free tuition to the
Hagan Productions,
optioned,
marked by
palooza.com
90-120 pages. Any genre considered. Cats:

COMPETITION. Grand
654-5809;
COMMISION
FILM
have been optioned or sold at the time
live action, 1 or
monthly
Deadline:
$50.
Fee:
each month). Contact:
of
settings. Deadline: Jan 31,
Seeking low budget (less than $1.5
Philadelphia
listings.
to
Entry
HOLLYWOOD SCREENPLAY CONSULTANTS SCREENInc. to
Greater
the
in
open to
600,
[email protected]; www.HollywoodNetwork.com
distribute.
primarily
set
Metropolitan Area. See
It's
feature-length
original
$55.
Columbus Screen-
433 North Camden
CA 90210;
fee:
who submit an
screenplays.
subscription
year
screenwriters
all
one year, which

all
and most importantly, parking.

local film and video indusAn example of that is the annual
every way possible.
try in
Hollywood Creative Directory
a liaison
to helping with loca-
grow the
Lastly, the office serves to
Web &
in
It
tions, permits, labor, hotels,
production
to
from being
between the production and community
script
synopsis
published on the
MONTEREY
place $1,000; third place $500. Plus script analysis, film
play Discovery Awards,
detail
full
posted on contest website.
Awards:
To
entertainment industry. One
first
and music videos.
provides producers with the assistance they need so they can
in
at:
screenplay accepted monthly to receive rewrite notes from
Awards:
TV productions,
including feature films,
Requirement
SCRIPTS; [email protected]; www.moviewriting.com
attempts to
kinds to the region,
all
90 & 130 pages. Rules &
Cahuenga
consultant.
and video production of
attract film
cin-
and guidelines
office
required.
(postmarked by
www.cinemareno.org
Hills,
makers and the City of Brotherly Love. The
format
Must be unoptioned, btwn
Contact:
$20.
fee:
on
being an advocate for film-
master
dard
CinemaReno, RO. Box 5372, Reno, NV 89531. E-maih
Beverly
Office has prided itself
stan-
picture
Scr(i)pt
DV Preview
courses,
Greater Philadelphia Film
glish;
seeking
script
For the past 10 years, the
En-
in
tainment values. Special quarterly screenings focus on
SP,
sit-
coms)
companies found
CINEMARENO, March,
festival of
or
Philly's Flavor
the major stu-
December 2001
contest limited to
first
who have
genres & locations accepted,
500
entries. First prize: $1,500.
Deadlines: Dec. 29 (early); Jan. 31

(early);
$50
(final).
not yet sold
Rules
&
(final).
Entry fees:
entry forms
at avail,
$40
on
duction.
No entry fee
Deadline: Dec.
Contact:
1.
or application; scripts not returned.
Send
Screenplay
full
screenplay
&
Competition.
Communications, Grand Valley State

Ml 49401; [email protected]
pg. synopsis.
School
of
University. Allendale,
S-VHS (NTSC
CONFERENCES WORKSHOPS
phone
WORLD NEWSREEL
THIRD
training
&
limited resourses
&
DUCTION WORKSHOP. Workshop emphasizes

who have
support of people ot color
access
to
mainstream educational
training
al
& tradition-
institutions
programs within film/video
member
post production. Primary objective to have each
&
workshop
required. Cost of
Workshop begins
edit 2 projects.
recommended but
Prior film/video experience
April.
Contact: Third World Newsreel, 545 8th Ave., 10 FL,
NY
York,
10018;
947-9277;
(212)
not
$500. Deadline: Jan. 12.
is
New
594-6417;
fax
Submissions
will
2318 Second
USA.
Info/details: (206)

"Nonprofit
photos.
#313-A,
Ave.,
WA
Seattle,
98121,
offer
seminars on
& Tax
Incorporation
319-2910
DIGITAL AUDIO
OCULARIS
provides a forum for film and video makers to
exhibit their work.
ming
works are considered
All
VIDED
program-
for
MULTIMEDIA
our weekly series, travelling programs, and other
in
special
projects.
makers can submit
film/video
Local
works under 15 minutes
OPEN ZONE,
to
open
a quarterly
Small Classes
&
Tutorials
protools
final
cutpro
photoshop
length
works (15-45 minutes)
web design
website
our
Coordinator at short-
Program
[email protected]
is
broadcast
of a
60 min. TV
Production Studios
24-bit protools
art piece every night.
Works vary from computer-generated abstract work
IB
track lock to Beta
final cut
pro
ultra
hard-core
Founded
reality TV.
mental film
video under 28 min. Send vhs, svhs, dv
w/ name, address,
labeled
SASE
&
tape return
for
NY
Buffalo,
Ave.,
length, additional info
title,
&
Squeaky Wheel, 175 Elmwood
to:
716-884-7172;
14201;
office
by artists around the world
program. Artists
into the
&
New
Rotterdam,
in
PARK4DTV,
Contact:
fit
be paid for broadcasted work.
will
Organization also has programs

Berlin.
is
Box
York
&
GH
1001
11344,
596 Broadway,
#602
212-43
130
PBS INDEPENDENT LENS The PBS
www.harvestworks.org
l-l
squeaky.org; http://www.squeaky.org.
CHICAGO COMMUNITY CINEMA

an annual film
festival with a
of
monthly extravaganza
movie showcase. On the
networking test and
Tuesday
offers the excitement of
each month short films,
showcased
an audience
to
of all
industry
of
first
music videos,
trailers,
commercials, student films, and features,
of a
genres are
Department
son of
DENT LENS
Evenings begin with a cocktail hour to showcase local
atmosphere before the screenings. Submission form

available at website.
Chicago,
208,
Deadline: Ongoing.
Community Cinema, 401 W.
Contact: Chicago
Suite
Entry Fee: $25.
60610;
IL
info@ harvestworks.org
for their
of
genres and lengths. Fiction, nonfiction documentaries
works are welcome. For futher
or live short action
mation
on
submissions
Department at 703/739-5010 or go
infor-
PBS Programming
the
call
to
www.pbs.org/pro-
ducers.
PUBLIC BROADCASTING SERVICE accepts proposals
for
mercerMEDIA
programs and completed programs by independent pro-
www.ChicagoCommunityCinema.com
212.219.
ducers aimed at public television audiences. Consult PBS
DUTV,
access
nonprofit
progressive,
channel
preview. Contact: Debbie

St.,
Bldg 9B,
Rm
All
SR
&
in
genres
DV,
&
S-VHS
& webcast. VHS
for
Rudman, DUTV, 3141 Chestnut
4026, Philadelphia, PA 19104; (215)
Web page from producer

Contact
Cheryl
guidlines
Jones,
Senior
Development & Independent
1320 Braddock
PBS Headquarters,
VA 22314; (703) 739-
its
on-going Reel Jews Film Series that
showcases the work
Now
of
emerging Jewish filmmakers.
accepting shorts, features, docs and/or works-in-
progress, regardless of theme, for screening consideration
and network
For
building.
more
info, call
MICROCINEMA,
INC./
BLACKCHAIR PRODUCTIONS
&
digital
media submissions
is
15 min. or less on an ongoing basis for the monthly
screening program Independent Exposure. Artists qualify

for
non-exclusive
license fees for
int'l
distribution
offline
&
deal,
incl.
additional
online sales. Looking for
short narrative, alternative, humorous, dramatic, erotic,
animation, etc. Works selected
and
int'l
venues
may
Submit VHS
or
seek public

in
come.
Incl. info
to: Eric
bi,
foley
All
program genres wel-
&
DVD authoring
drag,
Send VHS tapes
Comm. Dept,
of
ADR, and
tion.
recording,
Original
Ken Sherman at
(212) 601-1021 ore-mail [email protected].
VO
5150; fax (703) 739-5295. Email: [email protected]. Web:
distribu-

Alan Berliner
The Sweetest Sound
FAIRness
Florida Atlantic Univ..
3776
and mixing
www.pbs.org/producers/

continues
Sound
design, editing
Program
Director,
Film,
Place, Alexandria,
submitting.
before
895-2927; [email protected]; www.dutv.org
MAKOR
SoHo
21st, 2001.
venue
Ontario,
863-3451;
(312)
December
with a deadline of
INDEPENDENT LENS accepts completed works
works,
all
sea-
fall
in
independent film and video series, INDEPEN-
Offering filmmakers a national broadcast
professionals.
organizations and allow for a strong social networking
its
Programming
seeking submissions for the 2002
is
dv video
web design
made
tapes
1 hr.
PARK4DTV
1991,
in
has broadcast more than 1100 different
to
multimedia cd-rom
Buffalo cable access program of experi-
flash
sensors
www.ocularis.net.
at
Contact Short Film
media IDD
AXELGREASE,
For submission guidelines and other
visit
Questions?
be considered for curat-
will
max/msp
izing in
FILMS TAPES WANTED
aftereffects
medium
works and
National/international
screening.
PARK4DTV
x. 9.
Media Arts Center
Digital
Exemption" & more. Reservations must be made. Contact:

(212)
HARVESTWDRKS
www.microcinema.com
information,
Basics,"
length,
title,
incl.
not be returned. Contact: Microcinema,
Inc.,
ed group shows.
[email protected]; www.twn.org
"Copyright
name,
industry. Intensive
5-month program focuses on preproduction, production &
produce, write, direct
preferred) labeled with
777 Glades
Rd.,
Boca
& Accuracy in
Reporting
Counterspin
[email protected]
Raton, FL 33431; (561) 297-2534;
REEL ALTERNATIVE FILM SALON AND REEL WRITERS
WORKSHOP
respectively
accept completed film
Trembling Before
G-d
and
& Salome Skvirsky
screenplay submissions year round. Black, Latino, Asian
Robert
and Native American filmmakers
Stealing Home:
ers, producers,
mit their
and DPs)
VHS tape
mainstream
of Color are
or script. Yes!
projects, also.
a synopsis, your bio
(directors, screenwrit-
We
encouraged
are interested
Submit your tape
to
in
Clift
subyour
or script with
Lynne Sachs
Investigation, of a
Flame
MERCERMEDIA.COM
and a $10 submission fee (check or
Decembei 2001
THE INDEPENDENT
53
(^^^.as)
money
MULTIMEDIA, LLC 655 Fulton
order) to: IGH
NY 11217.
Suite 139 Brooklyn,
670-3616
or
For
more
Street,
718-
details, call
WIGGED.NET,
&
e-maih [email protected]
a digital magazine,
seeking innovative
is
and experimental new media works as
made
videos
well as animation
Web. Work should be under 5 min-
for the
utes. Deadline: ongoing. For details visit 'submit media'
SHIFTING SANDS CINEMA
a quarterly screening series
is
page on web
&
presenting experimental video, film, animation
site.
digital

media. Short works (under 20 min.) on VHS (NTSC) are
sought.
synopsis ot work,
Incl.
Deadline
Submissions
Archives
Tapes
ongoing.
&
become
will
will
artist's bio
&
unable to
are
part
of
the
contract
be
Sands
Shifting
also be considered for curated exhibitions
and other special
Contact:
projects.
Sands
Shifting
Cinema, c/o Jon Shumway, Art Dept, Slippery Rock
PostTyphoonSky
info.
returned.
WOLFTOOB,
New
local
York City TV
show
short films and music videos from
Wolftoob
watched by
is
looking for
is
min. to 17 min.
thousands.
millions, or at least
WORKSCREENING/WORKS PRODUCTIONS
currently
is
Univ.,
accepting submissions of feature and short documenSlippery
PA
Rock,
16057;
738-2714;
(724)
taries
and
programming
fiction films for
of its
upcoming
[email protected].
inaugural season of weekly showcases of independent

SOUTHERN
sites
& VHS,
MANAGEMENT
16mm
3/4", Beta or
FULLY EQUIPPED
who
travel to 6
applications from
$20
NO COMPRESSION
ed, nor
program
45 min.
of
to
purpos-
for judging
any press packet materials &
es) in addition to resume,
film
30 min. section
hrs (can be cued for a
COMFORTABLE,
of 6 artists
now accepting
film/video artists. Artists asked to submit application form

INCLUDING BUDGET
CIRCUIT, a tour
the Southeast,
in
&
entry fee. Performance
installation art not accept-
any works-in-progress. Note: Some
circuit sites
do
not have film projection capabilities. After pre-screening
REDUCED RATES FOR

ARTISTS
process, selection meeting held
& INDEPENDENTS
2002. Deadline:
in April
Jan. 15, 2002. Contact: South Carolina Arts
work streamed online as well as on our microcinema

screen
with name,
Susan Leonard, Media
tory.
Tapes and material
Julian Rad,
Ave,
Columbia, SC 29201; (803) 734-8696;
97 Grand
Street Suite
SUB ROSA STUDIOS
A
AVID at DIVA
worldwide
release.
Seeking shorts or feature length non-fiction productions

areas
especially horror and
wanted,
ucts
sci-fi.
genres,
Supernatural themed prod-
and non
both fiction
fiction, all
especially
fiction,
Contact: Ron Bonk, Sub Rosa Studios; (315) 454-
istic).
5608;
hr building
homemade
cameras
or small digital
web cameras known as netcams.
ZDTV network promotions &
work at
thier
www.zdtv.comamfest. Cats: humor, special
effects, fic-
a college
cinema
March 31.
in
supernatural/horror fiction shot documentary style (real-
mid-town
short
of the special interest or instructional fields, cut-
edge documentaries and children and family pro-
ting
own
movies using personal equipment such as video
cat. Deadline:
all
Film Festival: This unique film fes-
allows people to submit their
tion, doc,
VHS/DVD/TV
you are not
a SASE. Contact:
York,
ZDTV-2nd Annual Cam
programming
and
festival his-
if
Works Productions/WorkScreening, 1586 York
#1, New
video and film productions for ongoing Syracuse area TV
gramming. Also seeking feature length
large rooms
with a view
24
looking for a variety of different
is
and
Anyone can participate & may submit
001
21 2.965.0908 www.post-typhoon-sky.com
in
734-8526;
fax:
list
be returned only
St.,
[email protected]; www.state.sc.us/arts
6N New York NY
will
showcase & you include
selected for
digital
phone number, e-mail, address &
length,
title,
Commission,
1800 Gervais
Arts Center,
York City. Looking for alternative, dramatic,
support materials including screening
tival
Attn:
New
in
animation, etc. Submit VHS/S-VHS (NTSC please) labeled
email:
[email protected];
www.b-
PUBLICATIONS
artists'
for all actors, technicians
&
co-op offers free
organizations
in
listing
directory
&
searchable database, free email address (can even be
forwarded by fax or
s.a.s.e.
to;
Jim
letter), free
Lawter,
37
use
of bulletin board.
Send
#1-6,
Greenwich Ave,
movie.com.
CREATIVE COMMUNITY: THE ART OF CULTURAL DEVEL-
AVID 1000/AVR77
year for
quarterly series of screenings
its
The group
is
Los Angeles.
in
a non-profit organization created to promote
short film "as a
means
to itself." For
please
visit
As (onetime
AIVF members
report.
Lusk
THIRD
imental
class
54
THE INDEPENDENT
Alley,
San
WORLD NEWSREEL,
media organizations
missions of short
v.
CA,
Francisco,
ical
&
&
&
in U.S.,
& feature
one
is
94107.
&
length docs, narratives, exper-
other works attentive to intersections of race,
welcome. Formats: 1/2" VHS
bio to: Third World Newsreel. Attn:
December 2001
video sub-
gender. Projects that address other issues of politsocial interest also
Eighth Ave.,
New
York,
NY 10018;
&
& methods
of
website or write
Contact:
& economic
The report also
& support
the
in
Rockefeller
effective-
forces that
offers
recommenda-
For
more informa-
field.
for printed copies of the
Foundation,
Job
#3186
Box 545, Mahwah, NJ 07430;
"Creative Community,"
director's

dent audience!
IPA's
Annotations:
you
Annotations:
need.
For just
A Guide
To
name & number
Independent Press gives you the

editor
Find an indepen-
A Guide
$10.00
$3.05
(plus
The
of the
S&H)
To The Independent Press can open
up a world of contacts. Also available: Many Voices, One

City:
The IPA Guide
to the Ethnic Press of
New
Sherae Rimpsey. 545
($17 plus $3.05 S&H). For order send check
(212) 947-9277; fax:
Mission
community
its
www.rockfound.org
seeking film
cultural ties.
tion, visit
Edit
weaken
tions to strengthen
Contact us with finished projects or rough cuts. The Video
45
commissioned by the
publication
development practice, empasizing
videos to aggressively market to the educational market.
Project,
our goal is to help

other independents
1-800-324-AVID
330 W 42nd St NYC
a leading educational distributor of
seeks environment and educational films and
videos,
new
ness as a response to social
Easier for editing

THE VIDEO PROJECT,
oretical underpinnings, values
more information,
www.shortfilmgroup.org.
is
Rockefeller Foundation. The report traces the history, the-
cultural
Newly reconfigured
DIVA
OPMENT
St.,
#201, San
Francisco,
4401; www.indypress.org
York City
to: IPA,
CA 94110;
2729
(415) 634-

&
Univ. Film
sion
Suzanne Regan,
Journal
Editor,
to:
NY,
Communication Studies,
of
&
length
5151 Sate University
University, Los Angeles,
Dr., L.A.,
CA,
SANCTUARY QUARTERLY
aims
new
is
Sanctuary
devoted
is
magazine that
literary
wider audience.
to bring the art of screenwriting to a
exclusively
work
creative
to
screenplays for publication.
www.sanctuaryquarter-
Visit
more information.
ly.com for
mission to promote films
N.
works
Digital
to learn
to write
&
media/mixed-media
offers
two
info
and supplies
services,
production
proposals.
Work
&
able to withstand public interaction.
exceed 20 slides-reviews
not to exceed
should
artist
i.e.
for
funding
new media
Dept, Office
of
Cultural
65
Affairs,
instalSt.,
EMAIL:
1992; [email protected]; www.caparts.org
&
On-site
narrative filmmakers working
Cut Pro editing
facilities include: Final
Media Composer 8000
&
in digital
formats.
suite; Avid
(on-line); Pro Tools suite, digital
&
[email protected]
CULTURAL
FEDERAL OPPORTUNITIES:
FUNDING:
Designed by the National Endowment for the Arts to help
hands-on
nonprofit arts organizations identify potential sources of
animation studio. See www.911media.org/projects/residence
federal support for cultural programs, this online resource
video camera
or
send
video projectors;
light kit; digital
911 Media
s.a.s.e. to
117 Yale Ave
Arts, Artist in Residence,
WA
Seattle,
N.,
98109
guidlines.
for
includes listings of federal agencies
w/
history of funding
art-related projects, descriptions of projects, links, refer-
&
ence tools
Deadline: March 30.
(21 2)-21 9-9240
Providence, Rl 02903; (401) 621-
#39,
digital/web artists, and innovative docu-
artists,
mentary
postage. Deadline: Jan. 15. Contact:
near Seattle. AIR
live
project-based and supports
Weybosset
lation
& resume. Requests
Materials not returned without
$2,000.
w/ proper
Providence Parks
is
work-not to
a gallery or screening venue. No
in
s.a.s.e.
program
EXCELLENT RATES
EXPERIENCED EDITORS
proposals
All
of recent
access at 911, followed by a public
work
housing assistance,
installed
working with new media
as an art form. The residency allows artists 3 months
exhibition of their
be
will
to
must be accompanied by samples

facility
NONLINEAR /LINEAR
OFF LINE /ON LINE
BETA SP, DV EDITING
CD-ROM OUTPUT
FESTIVAL:
throughout downtown area. Work must be weather-resis-
or established artists
equipment &
MP3
Residence
Artist in
tant
emerging
Harvest-
Providence Parks Dept, Office of Cultural Affairs seeks
911 MEDIA ARTS CENTER

cash,
IL
CONVERGENCE 2002 INTERNATIONAL ARTS
of
any
RESOURCES FUNDS
grants
for
35mm. Emphasis
quality
of
or
in
Contact: CUFF, 3109,
5.
both established screenwriters and undiscovered talent.

are encouraged to submit excerpts
CUFFs
fit
16mm
8,
thoughtful, entertaining, meaningful screenplay writing by
Writers
genre on super
&
4th year award-
California State
90032; (323) 343-4206; [email protected]
x.22, [email protected],

ing
Department
NY 10001, (212) 643-1985
www.cecip.org.
and Video,
Film
of
of
possible inclu-
Send approx. 5 double-spaced pages
journal.
in
seeks written reviews
member films for
Video Assoc,
tips on navigating specific funding
Listings include over
sources
100 federal programs & 170
Reach the
projecl

examples, showing various arts programs supported bj
innovative profederal dollars at national, regional
&
state levels. Access:
gram that supports indigenous Canadian productions &
heart of the film
aims
to increase
volume
of
Canadian-made
films.
ACTRA
represents over 16,000 film, TV and commercial perform-
Canada and wishes
ers across
to
independent
to bring
these performers
(877) 913-
DVD-based
&
devel-
opers. The series provides high-end training tools thai
improve productivity
2278.
community...
a video &
is
& web
&
DMTS
technology
provide grants to
&
giving viewers access to working professionals
Advertise with
experts
support educational series assured of airing nationally by

that they would not have
PBS.
Children's
series
are
of
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in
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interest.
606-5012:
at a fraction of the cost. Contact: Rafael, (877)
Consideration also
will
be given to innovative uses of pub-
[email protected]; www.digitalmediatrainlic
TV, including
computer online
efforts, to
enhance edu-
ing.com
cational outreach
in
research and preproduction
have
production
grants
$500,000.
Proposal
Contact:
is
T.
Recent
rarely supported.
ranged
$100,000
from
to

credits. Professionally
if
you credit song
in
your
f ilrr
produced & mastered CD with 22
website.
punk, rock, alternative, dance, love songs. Call John
Road Rash Music (ASCAP publisher), (703) 481-9113.
guidelines
Jonathan
Dr.
available
on
al
offers
32202-4921; [email protected]; www.jvm.com/davis/

grants up to $50,000 for completion of original doc films
ARTSLINK
nonprofit arts organizations to

in
27 countries
in
Central
&
work w/
participants
Applications
ArtsLink,
or
Eastern Europe
audiences
in
both
must be postmarked by Jan
CEC
&
their counterparts

fit
schools and communities. Funding for
International Partners, 12
& Newly
to
bene-
countries.
15.
Contact:
West 31
Street,
&
videos that interpret Jewish history, culture
diverse public audiences. Applicants

or
progress addressing
within
year
Deadline: April
for
critical
given
issues, can
&
to
directly to
experienced working
filmmakers who
buy
stuff.
works-in-
be completec
potential
Contact: Kim Bistrong, Nat'l Foundatior
Jewish Culture, 330 7th Ave., 12th
speak
identity tc
U.S. citizens
award & have broadcast
of
5.
Priority
must be
You'll
fl NY,
TOTALLY INDEP(ND(NT
NY 10001
December 200!
THE INDEPENDENT
55
HARMONIC RANCH
(212) 629-0500
x.
www.jewishculture.org
JOHN
& CATHERINE
D.
in
one
AUDIO
-
Development;
John
sound design
-
music
original
-
Dearborn
voice overs
- audio
ADR
-
Catherine
T.
letter.
NEW DAY
non-linear
production
media streaming
database programming
wireless development -WAP
www.harmonicranch.com
S.
non-theatrical
59 Franklin St., Ste 303, NY, NY 10013

ph: 212.966.3141 fx: 212.431.1447
markets.
post-production phase. Full-length rough cut must
must be the
monies needed
last
2nd
St.,
Cut Pro
independent film &

for distribution
funds
project.
NAATA Media
to
Now
new
accepting appl. for
program
day.com
tem
NEW
editing
New
create the
New Media
Voices,
storage
No
appl. deadline, but allow 10
this
Fund are
harness the new media by supporting the
to
new media
creation of mission-driven, diverse
and providing opportunities
Plummer
WA
666
S.
fax:
St.,
Seattle,
98134; (206) 467-8666;
content;
for diverse content creators
public broadcasting to develop the skills that
new media demand.
Project
applications
accepted throughout the year
until
call
New
any time by CPB. Contact:
Program
c/o
401 Ninth
may
Voices,
be
PANAVISION'S
is
16mm camera
any genre,
be terminated at
New Media
Corporation
Operations,
will
the available fund
Fund,
Public
for
NW, Washington, DC
Street,
is
provides local film
&
industry directory,
listings
jobs, calls for entries
a unique online resource that
& upcoming
screenings,
events,
local
productions,
in
addition
filmmaker interviews & industry news. Reaching over

visitors
each month.
All articles
&
listings
Panavision,
6219 DeSoto
on sites
each year
to over
was
vital
200 professional
York,
PEN American
and intended
&
w/ postproduction, implementing
securing distribution. Through Agenda
arm
of
&
Wave
Next
of
Films
film-
work can receive pro-
assistance for features shot on DV
for theatrical release.
Both
fiction
&
non-fic-
considered for finishing funds and Agenda
[email protected];
open
call for
of Portland,
submissions
for Avid Film
St.,
Ste. E,
fax:
Symphony
Avid
Camp 2001
pro-
to indie feature
accepted on a
basis.
rolling
Ill,
Portland,
OR
OPEN CALL
2002: THE
97221;
INDEPENDENT TELEVISION
standard broadcast lengths for public television
pelling stories
from diverse points
of
view
in
mation, drama, doc, experimental) or
development
will
&
diverse
in
Dr.,
297-2324;
[email protected]; www.filmcamp.com
first
or
considers projects
second time feature filmmakers looking
intelligent,
and challenging
innovative,
festival planning
ted. Application
of
great story, break traditional molds of exploring cultural.
in
rights,
varied
amounts
The
for editing,
and other post-production
and
distribution. Narratives,
documen-
animation and works-in-progressmay be submit-
com-
tell
available
sound mixing, music
taries,
any stage
is
to cre-
films.
costs. Selected films will also receive assistance in film
com-
any genre (ani-
be considered. Programs should
Westgate
399-
(ITVS) considers proposals for innovative pro-
munities. No finished works. Projects
SW
(503)
www.nextwave-
twice a year for Open Call. ITVS seeks provocative,
Projects
Digital
Ste.
&
Online editing. Submissions need to be
feature-length projects
$500,000 fund
of
Digital
announcing an
is
films.com
grams
OR
ate
SERVICE
Center,
NY 10012; (212) 334-1660.
directors looking to complete their films, while offering
duction financing
3455;
PEN's emergency
to subsidize writing projects or pro-
fessional development. Contact:
568 Broadway, New
editors
screenwriters, facing financial crisis.
funds are not intended
&
small grants given
the production
films
&
for writers
of
Program,
CA 91367.
&
receive assistance
tion
form
Hills,
provides
festival strategy
-
Film
2000
in
www.nefilm.com
NEXT WAVE FILMS, funded by the Independent
other
New Filmmaker
Woodland
Channel,
Ave,,
video professionals w/ searchable

of
incl.
stamp. Contact: Kelly Simpson.
by
December 2001
for
Oppenheimer Camera,
oppenheimercamera.com
in
Santa Monica, CA 90405. (310) 392-1720;
2-228-4254
on year-round
week minimum
Fund. The objectives of
2000. Contact: Next Wave Films, 2510 7th
www.earthvideo.net
sys-
dramatic, doc,
in
Provides camera
not considered.
processing. Contact: Film Grant,
makers w/ an established body
card
16mm camera
productions
Corporation for Public

basis.
20,000
software
to professional
new
for first serious
jects
free to read:
Betacam SP, DVCAM

DV, Timecode DAT
Uncompressed video
access
experimental, or narrative form. Purely commercial pro-
NEW MEDIA FUND:
VOICES,
offers
Broadcasting has allocated up to $2 million this year to
to
THE INDEPENDENT
finish
FL,
NEWENGLANDFILM.COM
56
& NAATA
to
cooperative for
distribution
West and Midwest: (415) 383-8999. Website: www.new-
Broadcasting,
21
available
Applications reviewed on a rolling basis. Review process
20004; [email protected]; www.cpb.org/tv/funding
300 GB
is
Telecommunications
be submitted. Awards average $20,000
membership. Contact: On the East Coast: 617-338-4969.
the
Igniter Film
in final
American
Asian
www.naatanet.org
working
24 Frame
Funding
Association (NAATA) for applicants with public TV projects
National
Fund, 346 Ninth
consultation
Filmlogic
&
INTERNET
web hosting
web design
Final
Deadline: Feb. 15. Contact:
site.
editing/
web
takes approximately 1-3 months. Contact:
FILMS: premier
VIDEO
guidlines at
from
60603; (312) 726-
IL
videomakers with social issue docs
356-8383 x232; [email protected]; www.itvs.org
&
Contact:
foley
mix
Security
3-pg
to
1100, Chicago,
St.. Ste.
&
(415)
films
sweetening
-
&
D.
Global
Send prelim. 2-
Sustainability).
&
on an issue
major programs (Human
of the Foundation's 2
Community
& focusing
broadcast
int'l
risks, or
Download applica-
tions
T.
political, social or
give voice to those not usually heard.
forms can be downloaded at Thousand
Words' website: www.thousand-words.com. Contact: fin-
[email protected]
9100
or
Thousand Words,
Wilshire Blvd., Suite 404E, Los Angeles,
(310) 859-8330, fax. (310)859-8333.
CA 90212.

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in
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lWmher2CCl THE INDEPENDENT
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(^
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1342
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or office
of local
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writing;
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years
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3+
Requirements:
support.
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PROFESSIONAL EDITOR,
QJELEMEg
58
THE INDEPENDENT
Experienced Teacher offering
FINAL CUT PRO CLASSES. 2 per class, choose from Day
in
fostering social consciousness
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diately for full
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boldt.edu. Tel: (707)
826-3566
Fax: (707)
December 2001
^mm^^^m
826-5494
MEDIA CENTER MANAGER

teaches video,
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audio
film,
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Oversight of production
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film
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trations
workshop
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for screening
in
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change
Responsibilties:
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Requirements: commitment to social change mission; 4

years experience with digital video, non-linear editing
film technologies; excellent organizational,
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database & spreadsheet
internet skills; strong writing;

skills;
some bookkeeping. Competitive
Reply
to:
&
salary
benefits.
Personnel Committee, Scribe Video Center,
1342 Cypress
PA 19107; FAX: (215)
Street, Philadelphia,
PROGRAM DIRECTOR
&
video, film, audio
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change
social
cultur-
in
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curriculum
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support community
production of short videotapes; support
in
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The Rutgers Film Co-op/Now Jersey Media Arts Center, the

Rutgers University- Program- In Cinema- Studies, and Eastman
Kodak present the 14th annual
interactive digital technologies as
tools for personal expression

ally
teaches
for arts ed. facility that
in
PR
completing new works; write
materials
for
programs.
all
United States
Super 8 Filhi + Digital
Video Festivals..
February 15-17,: 2002
Requirements: commitment to social change mission;

nat'l
reputation as working film/videomaker,
MFA
pre-
16mm
film,
non-
knowledge
ferred; strong technical
&
linear editing, digital video
knowledge
of
of
audio technologies
independent film/video
teaching experience;
field;
writing
excellent
broad
min 3 years
abilities,
good
public speaker. Flexible schedule. Competitive salary

benefits.
Reply
Personnel Committee, Scribe Video
to:
1342 Cypress
Center,
&
PA 19107;
Street, Philadelphia,
FAX: (215) 735-4710; [email protected]
WELL-ESTABLISHED
seeking
solid
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array of clients.
work w/ our wide
to
COA
qualified contact
If
NYC
in
at (212)
505-
Rutgers University,
::::::::
New
New
Brunswick,
Jersey
Call For Entries
DEADLINE for the receipt of entries is

Friday. January 18, 2002 Noon EST
The 14th Annual UnitedStates Super 8 Film + Digital Video FestivalSM
is the longest running juried 8mm festival in North America. 'It
encourages^ any 'genre, (animation, documentary, experimental,
narrative, eifcc. U but the. submissions must halve predominantly
originated on Super 8mm/8rnm film or- Digital /Hi 8mm/8mm video.

Allworks-will be screened by a panel of judgeswho willaward$300O
in cash & prizes.
For JWoria Information or 'Entry^ Forms Contact The:

..'.'.
2002 U.S. Super; 8 FMm+PigjtaJ Video; Festival^
Rutgers Film Co-op/New Jersey Media Arts Center.
72 Lipman Drive'Lores Bldg. Douglass Campus)
New Brunswick., New Jersey. 08901-8525 U.S.A.
(732) 932 8482=phone; (732) 932-1935-fax;
[email protected]=omail; www.rijf iimfest.corh=website
\
Preproduction
SU-CITY PICTURES
Susan
clients
Harvard/Tufts
Kougell,
author The
instructor,
Savvy
Screenwriter
analyzes:
scripts/films/treat-
Warner Bros/Fine
Miramax/
Credits:
Rewrites available. (212) 219-
Line.
5th annual
Postproduction
CALL FOR ENTRIES
16MM CUTTING ROOMS:
8-plate
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fully
Deadline: December
24-hr access.
Late Deadline:
Downtown, near
rates. (212)
all
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to
16
or

screening,
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35mm
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16mm mag
(.015/ft). Call
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in
pic-
film, festival
Rough Cuts
fullcoat.
for
In-the-Works
Co-presented by DocuClub
editorial,
Deadline: February
(.065/ft),
April 4-7,
2002
1,
2002
Durham, NC
Tom (201) 741-4367.
A-RAY PRIDUCTIONS RENTS AVIDS: Our place

2001
3,
December 10, 2001
Reasonable
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tracks
16mm/35mm
ADR,
St.
925-1500.
16MM SOUND MIX

ture
subways & Canal
or yours.
Weston, CT or we'll bring
it
to
For information and entry forms:

In
919.660.3699,
association with the Center lor
December
-Wl THE
or www.ddff.org
Documentary Studies
INDEPENDENT
59
'
you (2-wk minimum). Rates from $1250. Includes AVR
77
Real Time EFX. Award-winning editors available.
Call (203)
544-1267.

(617) 783-9660;
Dexter Media
www.DEXTERMEDIA.com
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Beta SR DAT, extra
offline rez.
and your Avid
mixing,
or mine.

Drina (212) 561-0829.
po box 22604
crossroadsfilmfest.com
crossroads film festival
jackson,
ms
39225
AVID MEDIA
COMPOSER
XL1000: On-Line or
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Convenient Chelsea location, 24/7 access:
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Riverside Films (212) 242-3005.
^1
can ror
AVID MEDIA
entries
_^
download the Entry PDF
s^si
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XL1000. On-Line
Convenient Manhattan
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December 2001
THE INDEPENDENT
61
The Foundation
for

variety of


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its
December, continuing
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[email protected]

[email protected]
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South Florida:
Birmingham, AL:
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First
Where: Production
Homewood,
Latino producers nationwide.

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AL
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x. 4,
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December 6
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-9,
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2001. This year's
When: Last Thursday of the month 6:30 PM

Where: Charleston County Library,
68 Calhoun St.
theme
will
bers, often in association with
be
local partners.
"story telling in
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interactive displays, as well as
and
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Latina producer Lillian Jimenez (inset).
on the web!
Visit
is
posted
www.aivf.org
for
an

December 2001
THE INDEPENDENT
63

the main character of the film.
Gilliard,
who can be
Jr.,
Larry
seen soon in
Martin Scorsese's Gangs of New York, will

play Perry's best friend Marcus. Duane
Boutte, a stage veteran
who had
a role in
Stonewall and a guest spot on Sex and the

City,
playing the young Richard Bruce
is
Nugent. Daniel Sunjata, who has also had
and TV day work, will

young Langston Hughes.
Aunjanue Ellis, who has been in movies
from The Caveman's Valentine to Girls
stage experience
the
play
Harlem
scouring
brownstones
for
about to be gut-
Town,
ted.
Hurston. Alex Burns,
But the
real pre-
production
crisis
moment
of the
five
money.
all
got
he's
until
Wednesday.
while produc-
start Oct 27.
ers
Aimee
Schoof,
Isen Robbins, Jim
AIVF
The days are getting longer for
McKay
Rodney Evans as he gears up for an

October 27 start date for Brother to
Brother. On a sunny Friday in early
October about three weeks prior, he's up
early and already in SoHo, waiting for his
producers to pick him up. They're going
to spend the day touring Manhattan and
board), and Seth Carmichael are taking
the outer boroughs looking at possible
Evans
shooting locations. With Evans and three
We're giving out tapes, touting the
producers
to
fulfill
crammed in a car, they are sure

the new carpool rule at
Manhattan bridges and tunnels.

There are about 50 different scene
changes in the film that span 80 years
from 1920s Harlem to present-day downtown Manhattan. Several scenes are on a
Manhattan college campus in a classroom, a dorm room, and around the
streets. Another set takes place outside
and within a homeless shelter. The 1920s
scenes mostly take place at a mansion that
was known during the time
as Niggeratti
Manor, where young black writers
Langston
Hughes
and
Zora
like
Neale
Hurston once congregated.

"We're looking at
terms of what
it
facilities
than one scene," he
in a logical way, in
can be used
for
more
says. Just getting a list
co-chair
of the
off this day, the rest of their time has
with making phone
been
calls
to
everyone they've already contacted, to
try
the last bits of financing.
money
a day.
he
in place,"
Down
says. "It's
all
not
to the wire,
all
the
fair to
week and then shoot
hire people for a
is
having
ripple effect to not
for
the minutiae
complicated."
Evans
Still,
money
confident, because the
is
he's looking for to solidify the pro-
add up
ject doesn't actually
much.
to that
and can happen," he
says. "I
dream budget, the comfort budget and
cast.
the torture budget. We're going with the
to
really strong threads
money
keep
is
going to
come
it,
That
and
but go ahead and
start
shooting on Oct. 27.
week of what
He
is
says they
torture budget."
in."
B,
Evans has a plan
at
and
can do
supposed to be a
month-long shoot, and then take the
however,
torture,
does
not
include the cost-saving feature of shooting

is
on
video instead of film. Evans
digital
going to shoot on
it's
not
all
that
16mm, and
much more
says that
expensive than
they can keep from blowing most of the
would have been to shoot on DV. He's

camera package for free from the
Wexner Center in Ohio free except for
and
a really hefty shipping fee, he notes
money on expensive production
he's building in time for rehearsals.
more money.
material they get to look for

If
they do the present-day scenes
One
a tape
he has of the
he
speaks for
itself,"
final cast
how
they are."
stellar
As
almost
slate
turns
it
all
out,
says.
design.
moment
of his key assets at the
auditions and the call-backs.
first,
"I
is
from the
hope that
getting a
says that
if
can
go in and nail
just
For an extra
of his actors from the original
Angeles or the open
his trip
little
camera, cold-calling real estate agents, and
Juilliard showcase, will be playing Perry,
first
call.
use
them
life,
as
and
is
costumes
it.
bonus, Nugent's
from the
going to
for
last
let
few
Evans
Hyman. That
should lend a helpful aura to the shoot.
Anthony
to Los
Evans
years of his
He
and they plan the locations
well together
well, they
he can get the actors working
estate has his clothes
Evans has picked
he auditioned, and not from
whom
it
"You can see
Mackie,
December 2001
this
huge
did three budgets to start out with: the
involved sending out an intern with a video
THE INDEPENDENT
and
booking the crew. "There's
also with
"It's realistic
of potential places has been a chore that
64
actually signing contracts with them,
it.
Just in case,
a full
cast,
"There's no being shy about
I'm sure the
is
about his
thrilled
is
about money, money, money,"

says.
We've got some
that
While Evans
he's also worried about the implications of
calls to every-
one they know, and follow-up
"It's
had Earle Hyman
Richard Bruce Nugent.
It's
And
down
Thing, will play Perry's love interest.
signed on to play the older version of
in
The last "before" picture

of Brother to Brother.
Shooting is scheduled to
to nail
One
short-lived Semper Fi series and is

upcoming 13 Conversations About
deadline
Friday;
filled
in the
young Zora Neale

who was a regular
All along, Evans has
the
(also
on the
play the
that they have a
days to get in
is
will
spotted at a
For more information, contact the filmmaker

at
[email protected].

Right now, to
show you how
famous
far
or
40%
collection features
viewing tapes on
all
we're giving North
is,
of
people and events from as

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in
news Vh
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The Independent Film & Video Monthly 2001-1

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January/February 2001

Publication of The Foundation for Independent Video and Film

FILM & VIDEO MONTHLY

SNAOER TELESCRIPTION LIBRARY

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Publisher: Elizabeth Peters

Editor in Chief: Patricia

Listings Editor: Scott Castle

Intern: Jim Colvill

Contributing Editors: Richard Baimbridge, Lissa Gibbs,

Larson, Cara Mertes, Robert

Design Director: Daniel Christmas

Advertising Director: Laura

Advertising Rep: Bob Hebert

Ingram Periodicals (800) 627-6247

The Independent Film

Cadmus Journal Services

Send address changes

Video Monthly, 304 Hudson

The Independent Film & Video Monthly

tax-exempt educational foundation dedicated to the advancement of media

arts and artists. Subscription to the

annual membership dues

business/industry) paid to the Association of Independent Video and Filmmakers

the national trade association of individuals involved

video. Library subscriptions are $75/yr. Contact: AIVF,

10013, (212) 807-1400;

Periodical Postage Paid at

and at additional mailing

part with pub-

Arts, a state agency,

for the Arts, a federal agency.

The Independent does not

endorsement. AIVF/FIVF are not responsible for any claims made

The Independent should be addressed

funds from the New York State Council on the

and the National Endowment

independent film and

(212) 463-8519; [email protected]; www.aivf.org

to the editor Letters

edited for length.

Reprints require written permission and acknowledgement of the article's previous

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