Siobhan O'Flynn's 1001 Tales http://1001tales.posterous.com tracing the roots & tendrils of storytelling today posterous.com Thu, 21 Jun 2012 08:48:00 -0700 A CALL TO PRODUCERS: INNOVATE OR DIE | Filmmaker Magazine http://1001tales.posterous.com/a-call-to-producers-innovate-or-die-filmmaker http://1001tales.posterous.com/a-call-to-producers-innovate-or-die-filmmaker
By Mynette Louie in News on Monday, June 18th, 2012

Excerpt

"I’m very fortunate to be friends with many accomplished independent film producers–people whose films have screened at the best festivals, won significant awards, gotten picked up by major distributors, earned healthy gross receipts, and received accolades in the mainstream press. We hang out sometimes, one-on-one or in groups, to catch each other up on our projects, share recent experiences, exchange opinions on companies and people we’ve worked with, etc. But essentially, we get together for emotional support against an industry and an economy hostile to our work. At any given time, half of us will have one foot out the door, ready to escape an occupation in which the appreciation and financial rewards we get have zero correlation with the insanely hard work we do and intense emotional stress we endure.

I was recently struck by three things I read that echoed some of these sentiments: Ted Hope’s forlorn blog post in which he catches up an old friend to where he is now, Brian Newman’s post about how YouTube stars are disrupting the old indie film model, and the Huffington Post article on Jay Van Hoy and Lars Knudsen. I deduced a common theme running through all three: innovate or die...."

original post via

filmmakermagazine.com

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Tue, 29 Mar 2011 04:48:00 -0700 Best Breakdown Yet: Ted Hope: 'Hope For The Future: Filmmaker and Exhibitor Collaboration' #infdist http://1001tales.posterous.com/best-breakdown-yet-ted-hope-hope-for-the-futu http://1001tales.posterous.com/best-breakdown-yet-ted-hope-hope-for-the-futu
"...Let’s imagine that next year is actually right now.  So what does this present (formerly the future) look like?
- Each side recognizes each other as a partner – a critical partner – a partner that wants to inspire the other to the highest level of work and experience.
- Filmmakers recognize that completing their film is only half the work. 
- They recognize that the other half of the job is both marketing their film and maintaining a dialogue with their audience.
- The filmmaker is taking responsibility for their work through the end (aka forever). 
- They no longer entertain dreams of riches exchanged for rights. 
- They no longer anticipate surrendering control of their film to distributors.
- The filmmaker now thinks of their ultimate creation as what will be their body of work. They no longer look at each movie as a stand-alone entity. They recognize it is all a continuum.
- They no longer see themselves contained with a single form of medium. They make long and short form work for different platforms and different audiences.
- They look at all their work as an ongoing dialogue with an evolving audience.
- The filmmaker has already established at least one platform from which to maintain an ongoing dialogue with their audience(s). This platform will be: Blogs and/or Social Networks. They maintain regular – daily or weekly – contact with their audience.  They reward them, and visa versa...."
Read the full keynote on indieWire.com

Above is an excerpt from Ted Hope's "closing keynote address (as prepared and delivered to indieWIRE today) for the Arthouse Convergence, a gathering of exhibitors and others held this week in Salt Lake City prior to the Sundance Film Festival" on indieWire.

Read the full keynote for the most detailed breakdown of where we need to go.

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Wed, 16 Mar 2011 05:31:00 -0700 Ted Hope Provides Stats on 'Top 25 Multichannel Video Programming Distributors' > Hope for Film http://1001tales.posterous.com/ted-hope-provides-stats-on-top-25-multichanne http://1001tales.posterous.com/ted-hope-provides-stats-on-top-25-multichanne

Top 25 Multichannel Video Programming Distributors

Today, we started looking at digital distribution possibilities here in the USA for foreign language film, courtesy of the FIlm Collaborative’s Orly Ravid.  Here post explores the possibilities of VOD distribution for foreign language titles.  But you can’t no the players without a program can you?

Thankfully Orly has sourced us a list of the Top possible distributors for all of our work.  Check it out.

Top 25 Multichannel Video Programming Distributors as of Sept. 2010 – Source NCTA (National Cable Television Association)

Rank MSO                         BasicVideoSubscribers
1 Comcast Corporation         22,937,000
2 DirecTV                     18,934,000
3 Dish Network Corporation     14,289,000
4 Time Warner Cable, Inc.     12,551,000
5 Cox Communications, Inc.1 4,968,000
6 Charter Communications, Inc. 4,653,000
7 Verizon Communications, Inc. 3,290,000
8 Cablevision Systems Corporatn   3,043,000
9 AT&T, Inc.                 2,739,000
10 Bright House Networks LLC1 2,194,000
11 Suddenlink Communications1 1,228,000
12 Mediacom Communications Corp.1,203,000
13 Insight Communications Co., Inc.  699,000
14 CableOne, Inc.                   651,000
15 WideOpenWest Networks, LLC1   391,000
16 RCN Corp.                         354,000
17 Bresnan Communications1         297,000
18 Atlantic Broadband Group, LLC   269,000
19 Armstrong Cable Services         245,000
20 Knology Holdings               231,000
21 Service Electric Cable TV Incorporated1 222,000
22 Midcontinent Communications   210,000
23 MetroCast Cablevision         186,000
24 Blue Ridge Communications1   172,000
25 General Communications         148,000

Ted Hope posted to Distribution at 4:00 pm on March 15, 2011 | Permalink | Comments (3)

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Tue, 26 Oct 2010 05:55:00 -0700 Ted Hope on: What are the biggest 3 problems in the indie film community today? | Truly Free Film http://1001tales.posterous.com/ted-hope-on-what-are-the-biggest-3-problems-i http://1001tales.posterous.com/ted-hope-on-what-are-the-biggest-3-problems-i

I recognize I being very broad.  To simplify what I’ve already said so far, among the biggest problems in indie film are: 1) The creators’ mindsets; and 2) the overall infrastructure from top to bottom of the industry; so what would be the third?  Why, of course, the very stuff we make.

Key insight?

"I think the biggest problem for indie filmmakers is primarily a marketing problem; filmmakers must move from creating a series of “one offs” where they reinvent the wheel each time, sourcing an audience from scratch on every new project, and instead move to maintaining an ongoing conversation with their communities. I say this is marketing, because it demands a change it what we are offering from a series of single projects, to a deeper and ongoing relationship. It requires a change of approach for all artists. We need a shift of focus and appreciation from product to process. This the problem as it is experienced on an individual basis for the creators."

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