To add to that - I want to see more accessible talent incubators. Like, radically accessible. The bar to get in and try yourself out is way too high. Create programs/workshops/incubators that let more people in - the selection will happen naturally. Spend some of that wild money that’s being thrown at IP projects on funding a 100 (or a 1000) micro budget projects per year from new people. See what happens. I’m speaking from a writer’s perspective, after having studied at two acclaimed film programs and participated in a few professional workshops in Europe. Everywhere I go, I meet amazing talented people who remain on the margins of the industry and struggle to get noticed and their projects made. Women struggle especially. If you are not already in, for whatever reason, you spend years knocking on doors and feeling discouraged. People make it sound easy - like you just have to get out there and make your film - but it’s not realistic for some of us who are caregivers, introverts, immigrants, have day jobs, live in places where the industry is less robust, etc. The lone (male) filmmaker way - to just get your iPhone out and shoot - doesn’t work for some of us. People want to work with people. People are inspired by people. Having mentorship and support is crucial - it can make or break a career. We need more direct accessible pathways for new people to join the industry.
Hi. Though I appreciate young filmmakers need support so do marginalized filmmakers, such as female filmmakers over 40, who on their own have created three or more feature films with no real funding or support from the industry. I think there should be a push to bring in people with experience and creative ideas who have been ignored. Time and again, I see grants and support for first time filmmakers but there is very little given to people with proven abilities who have been overlooked for decades. I would love to present on this topic.
I think it’s time for a parallel, alternative film and arts clearinghouse. A rival industry to Hollywood which is able to compete and be taken seriously.
Agree w/ this very much. Also finding a way to affirm other festivals rather than just Sundance and Toronto as the determining factor of entré into more opportunities.
I would put it all in far starker terms, Sam. From a US side FESTIVAL ONLY, Sundance is all that matters, and now it only really functions for a career launch for initial tracking or a publicity launch for films with distribution. It could rebound, but even it has collapsed (and perhaps this is positive) as a sales market (last year only one docu was acquired AT market. Otherwise it exists as a junket getaway for execs and wealthy wannabes, and a influx of cash for region. Toronto unfortunately hasn't really been that critical for a couple of years. They all were deeply harmed by the pandemic of course. But the function and need of fests have been deeply transformed and they haven't been able to pivot yet. But what is the DANGEROUS IDEA here? I would say the future of festivals is to fully stop catering to the industry. Seriously. They should only be about the art, audience, and artists. That is how they will return to sustainibility as well as serving a mission.
I agree. I think true independent film festivals should not be catering to the industry.
I think the DANGEROUS IDEAs are independent film festivals being for independent films and pushing for women over 40 to have a true place as respected artists in the industry. I feel there is a lot of "check the box" done for this, but not a true effort to launch something full force in this manner.
To points 7 & 8, do we need more than two shows a year by the same writer/producer? Mentor people and let them get their names out there. It doesn’t diminish anyone’s star to help someone else.
And +1 on 9! Can we stop over sexualizing women and the whole fairytale romance thing is a farce. Maybe if there was something more realistic or at least more interesting, people wouldn’t be so confused. Check out TikTok and YouTube for ideas. There is a reason why GenZ hangs out there!
As for #14, I like the concept. But I’ve seen plenty of violations in LA and in the entertainment business. Who decides what’s acceptable? Shouldn’t we clean up our own inappropriate behavior before casting stones on others? And I'm not talking about cancel culture. For one, if a company has had to pay out a settlement (even a private one) to shut up a former employee because of your bad behavior, you should step down and can only come back once an independent medical professional certifies that you've taken accountability and made changes to your behavior. There are so many bad apples and toxic work cultures allowed to thrive. Stop the cycle!
Maybe as an add on to 7 or 8, mandatory mentorship/sponsorship program for junior corporate staff from trained professionals (not their supervisor) like continuing education. People often get stuck working for horrible bosses. Get rid of toxic bosses as mentioned above and teach people the ropes. Stop the failing up. It would save everyone frustration and companies a lot of time and money-- which they could put into paying people a living wage #PayUpHollywood!
The conference topics you’ve proposed are fantastic. So do it! Schedule an online event at least six months out to give yourself time to books the speakers. Folks should get paid a speaking fee for their time, so that could come out of the ticket price to attend the sessions. To curate the guest speakers & facilitators you could request recommendations from the grassroots organizations that are already doing this work: Color Congress, The Programmers of Colour Collective, The Undocumented Filmmakers Collective, Documentality, DAWG, Center For Cultural Power, Visual Communications, BlackStar Projects etc etc
As soon as you solidify plans and dates for the outlined dream conference, I’m blocking out the dates on my calendar to attend. Can’t wait.
Radical idea to throw in the mix, but it requires effort from the fortunate: Next time a hot filmmaker has a bidding war for their next film, convince them to require in terms in the contract that prior to their new work going forward, the winning studio MUST fund at least one new, promising filmmaker who wouldn’t have had a shot at a big deal yet. The industry darling can use their cachet to give a helping hand to a new compatriot. The star can mentor the newcomer (since they’d have time and incentive because the star’s new film can only be started once the new filmmaker’s production is released.)
It would take recognition and largesse from the tried and true filmmaker, true, but there has been precedent of sorts in the past and I can think of a few filmmakers who might quickly warm to the challenge if introduced to it.
I love this list and the intention behind it. I have 2 things to add:
I would add that we need to stop thinking about Hollywood as a goal or destination. It's a toxic environment that is now and has almost always been parasitic, leaching life from creatives until they're sucked dry. And when their minds finally crack, then it discards them. Dave Chapelle spoke on this.
Instead, we need to return to what you, Ted, were talking about over a decade ago, each filmmaker (doubly so for producers) needs to become an entrepreneur. We need to know the audience for a given project as early as possible. And then we need to figure out the least expensive ways to reach them and let them know about the project, and then get it to them in the format they want to see, at a price point everyone can afford (WAY less expensive than the current price of movie tickets during the afternoon/night). We need to get to the point where distributors have nothing to offer us that we can't do as well or better on our own.
You mentioned transparency, but I think we need to get really bold with this. We need to be willing to share every aspect of every stage of the process, especially wages and viewing stats. As close to 100% transparency as is possible (without putting people at risk of phishing). This keeps everyone accountable and also gives other filmmakers the data they need to build on the previous projects. This also has the added benefit of shaming those who horde data (read: streamers & Hollywood accounting).
"Require Amazon, Apple and Google all to divest of their video businesses, and most importantly their production arms. Whether they become platforms only, or have be fully stand-alone video companies, the debate can hash it out." - it happened in 1948 with the Paramount Decision from the Supreme Court. Studios were forced to divest their exhibition venues ending vertical integration. Then, the DOJ brought the suit against Paramount and the other studios and won. This DOJ is not going to do that.
At Future of Film (www.futireoffilm.live) we are pushing for a lot of these things with initiatives like our Incubator and annual Summit but so much more needs to be done. We need to talk!
Thank you, Ted, for reminding me of what I have been doing for the past 40 odd years. Yes, I guess I was born a rebel with big dangerous ideas. I often felt like I was screaming at the top of my lungs, but because no one knew who I was, they plugged their ears and tried to ignore me. When I organized talented, charismatic people around me, they ridiculed me or tried to put us down. It didn't always work and that's why I'm still a thorn in the side of the industry today. If you really want to do something to change this industry and the world around us for the better, let me know. Maybe, just maybe we could work together.
To add to that - I want to see more accessible talent incubators. Like, radically accessible. The bar to get in and try yourself out is way too high. Create programs/workshops/incubators that let more people in - the selection will happen naturally. Spend some of that wild money that’s being thrown at IP projects on funding a 100 (or a 1000) micro budget projects per year from new people. See what happens. I’m speaking from a writer’s perspective, after having studied at two acclaimed film programs and participated in a few professional workshops in Europe. Everywhere I go, I meet amazing talented people who remain on the margins of the industry and struggle to get noticed and their projects made. Women struggle especially. If you are not already in, for whatever reason, you spend years knocking on doors and feeling discouraged. People make it sound easy - like you just have to get out there and make your film - but it’s not realistic for some of us who are caregivers, introverts, immigrants, have day jobs, live in places where the industry is less robust, etc. The lone (male) filmmaker way - to just get your iPhone out and shoot - doesn’t work for some of us. People want to work with people. People are inspired by people. Having mentorship and support is crucial - it can make or break a career. We need more direct accessible pathways for new people to join the industry.
Great idea! Thanks for sharing.
Yes, precisely!
Hi. Though I appreciate young filmmakers need support so do marginalized filmmakers, such as female filmmakers over 40, who on their own have created three or more feature films with no real funding or support from the industry. I think there should be a push to bring in people with experience and creative ideas who have been ignored. Time and again, I see grants and support for first time filmmakers but there is very little given to people with proven abilities who have been overlooked for decades. I would love to present on this topic.
Thanks for opening this conversation.
I think it’s time for a parallel, alternative film and arts clearinghouse. A rival industry to Hollywood which is able to compete and be taken seriously.
I’m in.
Agree w/ this very much. Also finding a way to affirm other festivals rather than just Sundance and Toronto as the determining factor of entré into more opportunities.
I would put it all in far starker terms, Sam. From a US side FESTIVAL ONLY, Sundance is all that matters, and now it only really functions for a career launch for initial tracking or a publicity launch for films with distribution. It could rebound, but even it has collapsed (and perhaps this is positive) as a sales market (last year only one docu was acquired AT market. Otherwise it exists as a junket getaway for execs and wealthy wannabes, and a influx of cash for region. Toronto unfortunately hasn't really been that critical for a couple of years. They all were deeply harmed by the pandemic of course. But the function and need of fests have been deeply transformed and they haven't been able to pivot yet. But what is the DANGEROUS IDEA here? I would say the future of festivals is to fully stop catering to the industry. Seriously. They should only be about the art, audience, and artists. That is how they will return to sustainibility as well as serving a mission.
Now that is a truly dangerous idea- about the art. I’m here for it
I agree. I think true independent film festivals should not be catering to the industry.
I think the DANGEROUS IDEAs are independent film festivals being for independent films and pushing for women over 40 to have a true place as respected artists in the industry. I feel there is a lot of "check the box" done for this, but not a true effort to launch something full force in this manner.
Such great points here.
Adding to the list at the end...
To points 7 & 8, do we need more than two shows a year by the same writer/producer? Mentor people and let them get their names out there. It doesn’t diminish anyone’s star to help someone else.
And +1 on 9! Can we stop over sexualizing women and the whole fairytale romance thing is a farce. Maybe if there was something more realistic or at least more interesting, people wouldn’t be so confused. Check out TikTok and YouTube for ideas. There is a reason why GenZ hangs out there!
As for #14, I like the concept. But I’ve seen plenty of violations in LA and in the entertainment business. Who decides what’s acceptable? Shouldn’t we clean up our own inappropriate behavior before casting stones on others? And I'm not talking about cancel culture. For one, if a company has had to pay out a settlement (even a private one) to shut up a former employee because of your bad behavior, you should step down and can only come back once an independent medical professional certifies that you've taken accountability and made changes to your behavior. There are so many bad apples and toxic work cultures allowed to thrive. Stop the cycle!
Maybe as an add on to 7 or 8, mandatory mentorship/sponsorship program for junior corporate staff from trained professionals (not their supervisor) like continuing education. People often get stuck working for horrible bosses. Get rid of toxic bosses as mentioned above and teach people the ropes. Stop the failing up. It would save everyone frustration and companies a lot of time and money-- which they could put into paying people a living wage #PayUpHollywood!
The conference topics you’ve proposed are fantastic. So do it! Schedule an online event at least six months out to give yourself time to books the speakers. Folks should get paid a speaking fee for their time, so that could come out of the ticket price to attend the sessions. To curate the guest speakers & facilitators you could request recommendations from the grassroots organizations that are already doing this work: Color Congress, The Programmers of Colour Collective, The Undocumented Filmmakers Collective, Documentality, DAWG, Center For Cultural Power, Visual Communications, BlackStar Projects etc etc
Great idea x3
I always prefer action. Let's make it happen! The change we are talking about, if you want to make those changes, just follow me into the danger zone.
As soon as you solidify plans and dates for the outlined dream conference, I’m blocking out the dates on my calendar to attend. Can’t wait.
Radical idea to throw in the mix, but it requires effort from the fortunate: Next time a hot filmmaker has a bidding war for their next film, convince them to require in terms in the contract that prior to their new work going forward, the winning studio MUST fund at least one new, promising filmmaker who wouldn’t have had a shot at a big deal yet. The industry darling can use their cachet to give a helping hand to a new compatriot. The star can mentor the newcomer (since they’d have time and incentive because the star’s new film can only be started once the new filmmaker’s production is released.)
It would take recognition and largesse from the tried and true filmmaker, true, but there has been precedent of sorts in the past and I can think of a few filmmakers who might quickly warm to the challenge if introduced to it.
Let’s do it! Count me in Ted !
I love this list and the intention behind it. I have 2 things to add:
I would add that we need to stop thinking about Hollywood as a goal or destination. It's a toxic environment that is now and has almost always been parasitic, leaching life from creatives until they're sucked dry. And when their minds finally crack, then it discards them. Dave Chapelle spoke on this.
Instead, we need to return to what you, Ted, were talking about over a decade ago, each filmmaker (doubly so for producers) needs to become an entrepreneur. We need to know the audience for a given project as early as possible. And then we need to figure out the least expensive ways to reach them and let them know about the project, and then get it to them in the format they want to see, at a price point everyone can afford (WAY less expensive than the current price of movie tickets during the afternoon/night). We need to get to the point where distributors have nothing to offer us that we can't do as well or better on our own.
You mentioned transparency, but I think we need to get really bold with this. We need to be willing to share every aspect of every stage of the process, especially wages and viewing stats. As close to 100% transparency as is possible (without putting people at risk of phishing). This keeps everyone accountable and also gives other filmmakers the data they need to build on the previous projects. This also has the added benefit of shaming those who horde data (read: streamers & Hollywood accounting).
"Require Amazon, Apple and Google all to divest of their video businesses, and most importantly their production arms. Whether they become platforms only, or have be fully stand-alone video companies, the debate can hash it out." - it happened in 1948 with the Paramount Decision from the Supreme Court. Studios were forced to divest their exhibition venues ending vertical integration. Then, the DOJ brought the suit against Paramount and the other studios and won. This DOJ is not going to do that.
Love it Ted.
At Future of Film (www.futireoffilm.live) we are pushing for a lot of these things with initiatives like our Incubator and annual Summit but so much more needs to be done. We need to talk!
sorry typo that should be: www.futureoffilm.live
Thank you, Ted, for reminding me of what I have been doing for the past 40 odd years. Yes, I guess I was born a rebel with big dangerous ideas. I often felt like I was screaming at the top of my lungs, but because no one knew who I was, they plugged their ears and tried to ignore me. When I organized talented, charismatic people around me, they ridiculed me or tried to put us down. It didn't always work and that's why I'm still a thorn in the side of the industry today. If you really want to do something to change this industry and the world around us for the better, let me know. Maybe, just maybe we could work together.