24. The future…… Possibilities and problems Multi platforms Digital distribution Files can be found at: http://www.delicious.com/teachermap/frugalfilmmaking
25.
Editor's Notes
Introduction Who are we BOTH WHAT WE ARE GOING TO DO: JO Today we are going to: Look at the philosophy of Simple Cinema Talk about why it is relevant in the changing world of film Using two case studies Look at the future that these examples suggest for film making in the future and for film making by our students REASON DEB Reason why we are doing this for this particular conference this is the intersection between old and new film making This is about people talking the talk about making simple cinema and about democratisation Good examples to use with students form any country because they have resonated with audiences around the world
Jo Love this quote as these two things seem to be at opposite ends of the spectrum but somehow they have to cohabit This philosophy believes that it is possible to make an artisitic film that is also viable in a commercial market Tom Burstyen says “the goal is to produce a film on a small budget playing right next to the latest Hollywood extravaganza” It also involves finding new ways to make such commercial opportunities viable You can still have ethical practices in a film in a commercial film making environment You don’t have to sell your soul to the devil Simple Cinema the “love child” of these two parents, where they have managed to be made and to exist in a commercial environment without compromising their values….
JO Initially our presentation was called frugal film making in the digital age, but the film makers we interviewed prefered it to be called “simple cinema” as frugal seems mean and implies meanness which is the opposite of the ethos of this type of film making as will become apparent. Simple Cinema is focussed on story and achieving it in a simple way Sumner Burstyn changed the name from frugal because frugal has the sound of being less - but this is more cinema and better cinema - made simple. They don’t want these films to look cheap but they don’t believe you have to go to great enormous lengths to do it ‘ Replace Artifce with authenticity and you will have a film with resonance and heart”
DEB We have so many layers to our industry - making big budget films for primarily overseas audiences is one of them, but we also have people trying to make local film about stories that resonate for us. The primary source of any sizeable funding is the government. Without a distributor lined up may of these projects don’t get funded. Audiences are much smaller in NZ and our film commission is understandably unwilling to take risks. Sometimes these films get made anyway and sometimes they don’t. Kiwi ingenuity steps in. (Insaitable Moon an example of this). 3 tier system within the film commission 1 st tier for off shore markets like the Hobbit jackson effect Provide for overseas There is a lot of post production for films and this sucks up a lot of film makers production and 2nd tier still reasonable budgets for features and docos including the scheme called escalator Then the no budgets, often digital
DEB We have a huge DIY element , no 8 fencing wire mentality and people can often be most ingenious eg 48 hour video competition, We have a history of film making and film makers who have made film on the "smell of an oily rag". Even Peter Jackson - who now boost budgets bigger than those of some small countries made his first commercial film Bad Taste on weekends over 5 years - using his mother's bath to create gory prosthetics. Documentary becoming more accessible to audiences since Untouchable Girls did so well in New Zealand and around the world. When we tell our stories with universal themes they fly. Many successful NZ films � use the external story to transcend culture � (Sumner) WhALE RIDER, WORLD’S FASTEST INDIAN Our two examples are testament to that.
DEB
Story DEB 1. Focus on script and story rather than technology and effect. Relegate the equipment to the role of serving the story. -Respect the script and make sure it is in good shape before starting the shoot. Simplicity of technology 5. Less gear to make the crew light, mobile and focussed on what is happening in front of the camera. Crew JO Small crews meaning one or two people on a doco and as small as you can manage on a fiction but hire experts to lead. The crew makes the relationship between themselves and the subject. Without intrusive equipment this is easier - you also need more people the more equipment you have 4. Reduce working hours for the crew, so that they are sharp and attentive. The director, cinematographer and continuity to start an hour before the main crew each day (to plan). Production process 3. Allow time for the director and cast to rehearse and immerse themselves in the story each day.
JO The focus on simplicity would be seen as as being similar to Lars Von Trier’s Dogme 95 manifesto In this the focus is also on the values of story and acting rather than on elaborate special effects or technology However Tom Bursteyn , has heavily criticised this manifesto, or “vow Of Chastity” saying that the 10 rules in actual fact often restrict the story ” It often seems uptight and self righteous” Optical work and filters o\\are forbidden Why restrict film makers from using inexpensive techniques that could serve to improve the story” Microfinancing
JO Traditional distribution and marketing Hollywood style This is the barrier that any film m maker has to face Exhibitor and distributor Eg Boy The Most successful film made here in terms of returns in the box office in the region of $9 million and has been very successful there and overseas but has only just started to make a profit for the film makers In NZ the difficulty is compounded that in order to get any nation wide theatrical release you have to deal with foreign owned distributors and exhibitors, there is no local decision making about what is playing in the coneplexes, the decisions are made here in Aussie and the promotion of local films has to be done head on with the wider global film competition, the “sure bets” of Transformers 3 and Harry Potter
DEB They were both made on a philosophy that is, as it says, simple - based on principles of social justice but conversely needing 21st century technology to be successfuly produced, marketed and distributed Simple Cinema - self distribution The 21st century part of this philosophy kicks in when the film is marketed and distributed. Social Media is used extensively to target audience and to distribute the films.
DEB The first example This Way of Life Why I chose it: about a Maori rural family etc It’s an independent film, made on the smell of an oily rag, with a small amount of equipment by a couple of independent film makers (Tom Burstyn and his wife Summer Burstyn). It is the antithesis of ‘The Hobbit’ in terms of production size and method of production/post production/distribution. This film was a labour of love. They see themselves as artists wanting to express themselves
JO This is the other example which has come down a slightly different path The Insatiable Moon is a film by Rosemary Riddell and her husband Mike Riddell who had worked for 8 years to have a film based on his book. After seeking and almost obtaining funding from the film commission for $6 million dollars including overseas stars the Film Commission at the 11th hour pulled the funding and they then had to completely rework the project so that it was able to be financed on a budget of 350,000 which they obtained by “pulling in every favour we could amongst friends an colleagues. They were determined to make the film which was basedon the story of a mentally ill man,Arthur. who thinks he is the son of god. He has a positive Outlook on life which resonates
DEB The film makers have funded (for under $100,000) and self-distributed the film (which was shot on digital to save money and colour corrected in post-production to make it viewable on the big screen) and against the odds it has been very successful, in NZ (best documentary at the Qantas Film and TV awards 2010) and overseas. It was even shortlisted for an oscar nomination Awards IDA DocuWeeks TM 2010 (USA) Berlin Int. Film Festival 2010 (Germany) – Jury Prize (Generation Category) Anuu-ru aboro Festival 2010 (New Caledonia) – Young Audience Prize Qantas Film and TV Awards 2010 (New Zealand) – Best Director & Best Film (Documentary) Wairoa Maori Film Festival 2010 (New Zealand) – Best Aotearoa Documentary ViewFinders Int. Film Festival 2010 (USA) – Opening Gala film This Way of Life was shortlisted among 15 documentaries for the Academy Awards 2011. and in the official selection of 13 film festivals around the world
JO Critically Insatiable Moon has not had the same critical acclaim that this way of life has had
DEB We believe in factual storytelling. Our documentaries are personal, well researched, visually compelling and socially relevant. For us, this is the only medium worth investing in." (cloud south website) Sumner: Film making is changing and with HD digital cameras the barriers to making a film a less. It’s democratising* the making of film. Because we shot on HD it’s less hard to distinguish that it’s digital, but the main difference was that we spent money sending it overseas to have the colour done (into technicolour). Very small camera sometimes expediency in the mountains on a horse The lack of crew allowed them to get really close to their subjects So the barriers between observes and observed was broaken down and if there had been a lot of equipment they would not have been able to do that They honoured the integrity of the families story and built a close relationship with them Self funded - film comm rejected them
JO Get the job done and maintain quality Very light and fast If you use a dolly takes time to set up Limited set ups and limit coverage Plus was finding Tom Burstyn for DOP And had philosophical commitment Hiring very experienced people as head of dept Can’t sacrifice experience Needs to be able to use natural light Communal commitment Film school graduates as work experience worked for nothing/ gift Opportunity Can’t afford pre prod period or highly staffed office, not access to same way of equipment Basic elements catering prod office support and catering Pulling in favours Can’t prermantly do so
DEB The distributors weren’t interested in our film. They didn’t think a film about a poor rural maori family would fly (Deb: Ha, what about Boy!), so we decided the best way to market and distribute this was ourselves. We did a Facebook campaign (still are, please like our page This Way of Life, and we built that page up a long time before the film came out. It’s connected with our website and blog. We paid a PR person and used the PR. We identified groups in the community that might be interested and went and talked to them (scouts, parenting groups, Christian groups) and gave them free tickets and posters). We set up a digital mailing list and spent a paltry $1500 on advertising. Everything else has been grass roots, word of mouth. Self distribution is another key to democratising the film industry JO Initially decided to go down a traditional route 150,000 on advertising spend for the local release successful in the local film festival But limited release no commitment to it In the UK marketed completely differently
Facebook: The Paihiatua phenomenom - they’d ask people to spread the word and give them free tickets in return. Personlise the story: They include stuff about how the family is getting on (latest baby) - now spread to crowdsourcing funding for them as they are homeless Blog: Mike set upa prodcution blog very early on to gain attention for the film
Profit sharing: If you buy This Way of Life off the website/facebook – then the profit is shared with the Karena family (the subjects of the documentary). The Burstyns have set up a trust to help homeless people - and some of profits of the film will go into that
Insatiable Moon now creating a doco that will feature issues of Mental helath ans so can be used in conjunction with the film to show to audiences who are involved or interested in such issues
now spread to crowdsourcing funding for them as they are homeless Insatiable Moon Now asking for money for funding for the NZ Film and Television awards Asking for donations to allow them to enter this competition
Possibilities They’ve also ventured into distribution of other movies. they are trying to fit the concept of sharing For our studnets: what does theses films offer: -teacher odf doco showing them that something simple can be moving and successful Concentrate on the story and it will be much more succesful -do need to know about equipment and how you use it , in fact need to to know mnore as need to be inventive can’t rely on equipment to create the story -ethics …sustainable practices ..not saying these ways are right its about having humility and compassion Two movies are about marginalised outside people who have dignity That dignity is crreated by the way the film makers have treated them in the filming process and beyond
Problems Relies on calling in all your favours, Don’t easily see a return You have to be ready to take any opoortunity to publicize your film Open to criticism you have got too close to your subjetcs…exploitation Idealsisingh of subjects Don’t give up your day job These same marketing techniques can be easily employed by the big corporations andyou have to keep on feeding the audience to sustain them and keep them “loyal” and committed there’s a lot of energy in that Lack of money is the biggest constraint and advantage
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