I also want to note that Philly has my favorite program synopsis of the film so far:
“Artful and melancholy, The Lost Coast is a distinctly American take on a European art film. Taking inspiration from Antonioni, Truffaut and Godard, director Gabriel Fleming has created an intimate film overflowing with emotions. ...[plot description]... Shot with elegance and precision, Gabriel Fleming’s artful film will reverberate in your soul.”
This coming Sunday The Lost Coast will be playing at the Outfest Gay and Lesbian Film Festival in Los Angeles. Please come and see it! It's a big theater (430 seats), and I'd like to fill it. Bring your friends! Tell people you think would be interested!
The Lost Coast Sunday, July 13, 7PM Regency Fairfax Theatre 7907 Beverly Blvd (at Fairfax) (Valet parking available in front of the theater for $5)
Interesting news item today on the new-distribution-model issue I've been boring you with. The Sundance-winning film Ballast has dropped out of their deal with IFC, in favor of self-distribution, because they figure they'll make more money that way . Read the article here.
Also, a gloom-and-doom article from last week in IndieWire about the changing landscape of indie film distribution. Read it here.
I haven't been to New York in ten years, and I'd forgotten all the dos and dont's: -When telling a taxi driver an address, you DO say the street first, then the crossing avenue. “I'm going to fourth and second.” DO NOT mix it up or you'll end up in the wrong place, and then you'll probably be killed for your shoes. -DO NOT ever say about someone's apartment: “Wow, this place is small!” (also DO NOT say “you pay that much for this?”) -DO NOT look at a subway map while on the street, but -DO look at the subway map while on the subway. Even locals do. And -DO look disoriented when walking out of the subway. Even locals do. But -DO NOT look up at the tall buildings when coming out of the subway, or any other time. Finally, -DO complain about the heat and humidity. (This is my favorite DO.)
I was in New York for NewFest, the New York Gay and Lesbian Film Festival, the first screening of The Lost Coast since SXSW in March. NewFest's films screen in a multiplex, the AMC on 34th street: during the festival there were so many gays milling about the theater lobby that I thought I had stepped into L'Occitane's flagship store.
The screening went well, though we didn't have a very full house.
I like to take pictures of the audience before the film
Afterwards we went over to a festival party and enjoyed the free vodka (it's always vodka; why vodka? These parties never have free whiskey, dammit.) There I met with Matt Dentler to talk about:
Our Recent Deal for Cinetic Rights Management to Represent The Lost Coast
Matt Dentler is the new King of All Media
I've been talking to a lot of filmmakers about this deal. It's a confusing step into the future of indie film, and no one really knows how the chips are going to fall, but I'm excited about it. To me it represents the final (or near final) break from the financial/artistic restraints of the traditional filmmaking model, and in my grandest dreams I can see a future of surviving financially from making little “art” movies using this new model. To understand what Cinetic is doing, it helps to take a bit of a global view of recent changes in cinema.
The course of cheapening filmmaking technology, known collectively as the digital video “revolution,” began in 1995 with the introduction of DV, continued into post-production with Final Cut Pro in 1999, improved with pro-sumer HD video in 2004, and is littered with many little but important cheapening steps along the way (DVD burners, 24P mode, ProTools, AfterEffects, Color, etc.). These technologies bring pre-production, production, and post-production within economic reach of your average middle-class idiot. The promise, however, of the truly cheap idiot movie has yet to be fulfilled. There are two remaining expensive links in the moviemaking chain: distribution and promotion.
We stand now on the brink of breaking one of those links, my fellow idiot: distribution.
Cinetic Media is a leading New York film sales agency, and they've started a new division called Cinetic Rights Management (CRM) to boldly dive into the future of indie film distribution. Cinetic poached Matt Dentler, former director of SXSW, to help run the new division, and create a new model for indie film distribution.
The old model goes something like this: Filmmaker makes film, Filmmaker hires sales agent to negotiate sale of film to distributors, distributors (from different international regions) license exclusive rights of film for respective region, distributor puts ads in papers, makes prints and DVDs, sends prints and DVDs to retailers (theaters and videostores), then viewers go to the theater or rent a DVD. (Oh, and then this happens: distributors cross-amortize their costs, distributors throw parties for themselves, distributors hire fancy accountants who reduce or eliminate profit (for tax purposes), and distributors end up paying almost nothing to the filmmaker. Many small indie films never see any money at all from traditional distribution.)
So now we have this fancy new internet thing. The way people consume media is changing. Theatrical audiences for indie films are dwindling (indie theatrical releases are now merely a promotional device for the DVD market). But uh-oh! DVD rental is declining! Then here comes iTunes starting an online video rental service. Netflix does the same thing. Apple creates AppleTV, letting you watch downloaded movies on your television. Netflix releases their Roku box performing the same function.
Broadband internet is now found in more than half of American households. The base of consumers downloading their movies and television is increasing exponentially. In a year or so you (yes, even you, my middle-class luddite idiot friend) will be watching your movies and television in your living room via a downloaded source.
(From personal experience, I've been downloading virtually all of my tv shows and movies for over a year, and I have no desire to go back to cable tv and the video store. I don't have to drive anywhere, I never see commercials anymore (alleluia), and I watch better stuff. Case closed. It's like getting a microwave. When you do, you can't remember what it was like to live without it.)
That's the new dynamic. Wow! Everything's different! you say. The question arises, then: what's even the purpose of an indie film distributor in this new system? I can just put my movie on iTunes! Well, it turns out distributors perform functions besides physical distribution: selection and promotion.
That's where CRM steps in. They select films, and promote them (among other things of course: dealing with all of the specifics and bullshit of each individual market, packaging, all the stuff that filmmakers don't want to deal with). CRM is not quite a distributor, not just a sales agent, but connects the final link between film and audience.
It sounds a bit like I'm shilling for CRM. Really I'm shilling for the concept, the new model that they're advancing. It's a vision that took me a little while to understand, but now it seems obvious.
The results of this system remain to be seen. There are still obstacles to overcome. Even after most consumers are downloading all of their TV shows and movies off the internet and watching them on the tv in their living room, we still have a few steps to go before the system really works. How do you cheaply connect with the people who would want to see your movie?
With The Lost Coast, I just know that there are a lot of people who would really want to see it, people who would gladly pay for it, if they only knew about it. The challenge is to reach them in a way that doesn't cost fifteen million dollars, or even fifteen thousand. There are technological strides being made in that direction. In a way, the entire internet industry is working on that very issue: advertising and connecting targeted products with targeted audiences. Google has made their billions from this challenge. (Thanks Google. Thanks for running blogger.com for free; I will gladly look at those little ads on the side of my search results as payment). I have high hopes that a cheap film/television advertising system will present itself.
One thought along those lines: as it turns out, we already have this vast, elaborate selection and promotion process: film festivals. If film festivals were to make it possible to view films from their program, link from their website to the film available on iTunes, whatever, you'd watch, wouldn't you? Wouldn't you go through the Sundance films from the program every year, watch the trailers, see if there's any that looks good to you, and rent them for five bucks? I would. (I would not, and do not, however, remember those same films two years later when they are available in an obscure corner of my video store.)
As a final note to this long-winded and soapbox-ish entry, I want to say something about art. (Okay, I can hear you groaning). The technological changes to filmmaking are not just technological. They will have a profound impact on the art of cinema itself, in ways that we are only starting to see.
One can draw a comparison to the music industry, which is going through the same transformation, except that they are about five years ahead of the film world. While the traditional music industry is in trouble, there has been an amazing explosion of tiny indie bands reaching small but global audiences. (Ever heard of the sub-genre “drone-doom”? Well, apparently enough people have for it to exist at all, and for these bands to be reaching their audiences). These days we have an amazingly rich independent music environment. The hope is that this same flowering will occur with cinema. Who knows, maybe it already is; we just can't find it and download it yet.
Okay haters, all six of you subscribers have been smacking me around because I haven't blogged for over a week. Egads! How dare he not blog for more than a week! It's inhuman! Sacreblog!
Well let me lay down the law here: I will blog when I damn well please.
And I should describe what my plans are for this blog, so you people stop harping on me: -I am going to write about my movie The Lost Coast, and what's going down with it. -I am going to describe my experience on the indie film festival circuit. I will try to give some perspective on this weird little world as I am experiencing it. I'll be writing about NewFest, SXSW, Frameline, Outfest, Cannes, and a little later, Venice. -Later, this will start to blend into blogging about The Untitled Around The World Project. You see, I'm going around the world this year, and I'll be shooting some project, still up in the air, but it should be interesting, and hopefully I'll have a bunch of video to show. (The plane tickets are booked already. We'll begin in Bangkok, Thailand.) -Along the way I'll probably muse incoherently about indie film. Oh, delightful!
I will not be writing about my car troubles. I will not be writing about my favorite ice cream flavors. I will not be writing about the relative gayness of High School Musical 5: Suck It Up! And I won't blog something simply because I haven't blogged this week.*
So there, I've laid down the law. Can you handle it? I dare you to handle it.
*I reserve the right to completely change this blog philosophy at any time. This blog rant may not be applicable in Rhode Island or Florida. In case of intestinal discomfort or feelings of frustration with the blog and/or blog subjects, consult your doctor as it may be recommended that you take a chill pill.
Let me just say here, as a matter of principle: I've always hated blogs. Do I really want to read about your cat's most recent machievalian exploits? No. Not even if he does have an amusing video series.
I am beginning to think my distaste of bloggery was a little knee-jerk, maybe even prejudiced, and dare we say, blog-biggoted? Bloggoted?
And I've got stuff to write about. There's this movie The Lost Coast that I want to tell you about. I've been going to festivals, and I have all these pictures I want to show you. And there's other film things as well, like this movie A+D that we're just finishing up, and I've got other things coming up that you might be interested in... So, hey, let's blog! Let's blog together! Just you and me. It'll be fun!
Gabriel’s features films, One Thousand Years and The Lost Coast, both premiered at the SXSW Film Festival, and besides writing and directing he also works as a producer, such as on upcoming features A+D and My Movie Girl, and as an editor of indie features and reality television, such as America’s Next Top Model and MTV’s Making the Band.
American micro-cinema meets the European art film, The Lost Coast is a haunting look at sexuality, repression, and friendship. Mark, Jasper and Lily are high school friends, now in their early twenties, reuniting on Halloween to experience the otherworldly costumes and sexual charge of the public celebration in San Francisco's Castro District. Unsatisfied with the spectacle, the trio wanders the city in search of ecstasy, and Mark and Jasper are forced to confront their secret sexual history--a silent past that Mark, who is gay, never got over, and Jasper, who is straight, never acknowledged. Internationally critically acclaimed, The Lost Coast premiered in competition at the South by Southwest Film Festival, and won best feature film at NewFest: the New York Gay and Lesbian Film Festival.