In this episode I talk to Brad Wilke, an award-winning filmmaker, produced feature-length screenwriter, and film programmer for the Seattle International Film Festival.
Veteran filmmaker, teacher, and fundraiser Mark Stolaroff takes a pause in the middle of the Kickstarter campaign for his new film “DriverX” to reflect on his filmmaking career and the psychology of asking friends and strangers for money. Mark is the creator of the "No Budget Film School” seminars and a role model to many indie filmmakers.
Are you being offered the “festival rights” to the music in your film at a discount? It’s a trap! Find out why the deal you’re being offered might not be the best option for you.
When licensing music for their projects, sometimes filmmakers will ask whether it's advisable to purchase only the "festival rights." Sometimes it's possible to save money on music licensing by obtaining permission to use a song in a film limited to play at festivals. It sounds great, but it is it a good idea?
Allison's film just isn't getting into festivals. Here are my thoughts on the possible reasons.
Jen West and James Martin are partners in life, partners in filmmaking (they alternate between directing and producing on each film), and partners in a string of successful crowdfunding projects.
Now they face a new challenge -- distributing their most recent completed film online and on the festival circuit while raising funds for their first feature-length film.
Excerpted from their online course “Film Festival Hacks,” Alex Ferrari (Indie Film Hustle) and host Chris Holland talk about the career building and networking opportunities to be found at film festivals.
Chris Holland talks about the legwork of creating a festival strategy, in particular the research you should be doing about the festivals you think you want to submit to.
When your 5-year old daughter looks up at you at 6 in the morning (before leaving for school) and asks "How do they make cartoons?" -- that's when you thank the heavens that YouTube exists.
From the Hollywood Reporter: The Sundance audience gave the slave-rebellion drama an extended standing ovation, which was followed by mostly enthusiastic reviews. By the next morning, Fox Searchlight had plunked down a jaw-dropping $17.5 million for worldwide rights to the film, the biggest sale in the fest’s history. It also marks the largest sum ever paid for a finished movie at any festival, including Cannes, Berlin and Toronto.