Sunday, May 31, 2009

Sunday Morning Film Reading

It's Sunday morning and a great time to catch up on some film reading. Here are some articles I caught up with this morning. Now I'm off to write for most of the day. I am writing two rom coms at the moment.

Saturday, May 30, 2009

Your Deliverables for Your Film

When signing a sales agent deal and selling to a distributor, you will be asked for deliverables. You must deliver all items or your sale may be forfeited. Deliverables are extremely important, tedious and time-sucking, and costly. So get ready! 

Here is a typical Deliverable list: 


  1. NTSC 4x3 Digi-Beta Master of the Feature Film for television.
  2. NTSC 16x9 Digi-Beta Master of the Feature Film for video.
  3. DA88 of the DM&E and/or M&E Track.
  4. Photographic Material – Either slides or a disc of stills usable for the creation of key art.  If on disc must be high resolution. Need a minimum of 50 stills.
  5. Standard Press Kit with synopsis, cast, behind the scenes info, reviews, etc…
  6. Billing Block.
  7. Paid Ad Credit Obligations.
  8. Name and Likeness Restrictions.
  9. Music Cue Sheets.
  10. Music Licenses.
  11. Composer Agreement.
  12. Chain of Title.
  13. Copyright Registration Certificate.
  14. E&O Insurance Policy.
  15. Lab Access letter to all physical film and video elements.
  16. Assignment of Rights.

 Will be requested but might not be mandatory:

  1. NTSC 4x3 Digi-Beta Master of the trailer.
  2. NTSC 16x9 Digi-Beta Master of the trailer.
  3. DA88 of the DM&E track of the trailer.
  4. NTSC 4x3 Digi-Beta Master of the textless background of beginning and end titles if superimposed of the film.
  5. NTSC 16x9 Digi-Beta Master of the textless background of beginning and end titles if superimposed of the film.
  6. HD 16x9 Master of the Feature Film.
  7. Copyright Mortgage and Assignment.
  8. MPAA Rating Certificate.
  9. Continuity Script.
  10. Title Report.
  11. Copyright Report.
  12. UCC Search.
  13. All agreements including talent, crew, location and guild agreements.
  14. Electronic Press Kit.
  15. Extras for the DVD that include commentary, making of doc, etc…

Friday, May 29, 2009

Breaking Down Final Costs on a Feature

I've been asked to share more about what I do as an indie producer. Well, today I'm heading over to my business partner's home to break down the final costs on our feature Not Since You. 

We were able to finance Not Since You with a mix of cash and in-kind investments as well as partial crew deferrals. And now that we have a screener for buyers and a week before we receive them from the disc vendor, Jade and I are going to spend the day crunching the numbers of how much and when we owe everyone money. Of course, we anticipate a sale (important to remain positive always) so we want to be ready with a plan of where the sales proceeds will be going.

This is not going to be a fun or easy process. Yay! We have our cash investments from a number of investors, in-kind investments, crew deferrals, anticipated music licensing, legal, and sales fees, and estimates for keeping the business running each year as well as SAG residuals. 

To date, we have kept very accurate records of investments, deferrals, and costs. We tracked every expense in Quickbooks from day one. Each month, Jade balances the Quickbooks file with any costs. If we had to do it all over again, it would take weeks to recreate. 

Our goal is to do a cheat sheet of what we owe in each category. In essence, we will be finalizing our accounts payable, which should amount to over a hundred people owed (this is when crew deferrals get tedious to deal with). 

I like to have information at my fingertips that gives me the overall outlook of the project. I am all about the big picture. So now we have the incredible task of melding this information into a master document. And that's what we will be doing today and probably a couple more days too. As we go to buyers, I want to know exactly where every penny needs to go and when we will go into profit!

Thursday, May 28, 2009

It's Back: Top 50 Hottest Young Actors from the Movie-Fanatic

And I love it! I love it when the Movie-Fanatic does its Top 50 Lists of the Hottest Young Actors. I am constantly evaluating new actors for roles and it's lists like this that help me immensely when figuring out who's hot at the moment. So if you are casting young actors right now, definitely peruse this list. 

Thoughts from Indie Filmmaker Heidi Van Lier

I have been swamped this week with writing for various projects and my blog has been suffering, but I hope I've been providing some cool links as I barrel through my writing gigs. 

Here's another cool link. Heidi Van Lier has a blog at Film Independent and she has a fun entry here about how to run an indie set without looking totally lame. Definitely give it a read.

Wednesday, May 27, 2009

How IndieVest Works

IndieVest is a company that offers film projects to a group of investors who pay membership fees for the privilege of considering and investing in IndieVest films. I had wondered how the company works and I found this article detailing their set up. Super intriguing. Check it out.

For more detailed information, go to IndieVest's Web site

Tuesday, May 26, 2009

Being Positive about Indie Film's Future

It's important to be positive about indie film's future. Without hope, where would we find the inspiration to keep doing what we do and move toward establishing a strong foundation for the future of indie film? 

I believe that as long as we keep fighting for survival, we will eventually figure out long-lasting solutions for a thriving indie film industry. History shows us that we human beings have the ability to survive periods of immense difficulty. 

Now, for a beacon of Hope. Check out Ted Hope's 52 Reasons Why American Indie Films Will Flourish. And add to his list!

Monday, May 25, 2009

How Not to Use the Internet to Find Investors for Your Film

Entertainment Lawyer Gordon Firemark writes a very informative article on how filmmakers should not be using the Internet to find investors. Find the article "How Not to Use the Internet to Find Investors for Your Film or Theatre Project" here.

Firemark makes an excellent point that filmmakers are actually in violation of the
U.S. Securities and Exchange Commission (SEC) should they post advertisements for investors on the Internet. 

The function of the SEC is to help monitor the securities market (i.e. stocks, bonds, or other ownership investments) and protect investors. The SEC was established in the United States after the 1929 stock market crash. Prior to the formation of the SEC, there was no effective governing body regulating the securities market. Obviously it was needed in order to help keep businesses honest.

So, Congress acted quickly and passed the Securities Act of 1933 in order to help re-build investor confidence in the securities market. Then, the Securities Exchange Act of 1934 created the SEC as an organization to oversee the the securities industry. 

Normally, businesses must register their securities for sale to investors with the SEC and it is an incredibly tedious process. Most filmmakers don't have the time or resources to register their projects. 

Thus, the SEC does offer exemptions from registering for businesses through Regulation D. Film offerings are usually exempt and with the exempt status comes rules that must be followed. And one of these rules is that the offerings must be private. Calls for investors through ads on the Internet are not allowed. So you need to be careful how you put the word out for investors.

Luckily, Firemark also suggests unique ways of finding investors, while complying with the SEC rules. So give his article a read!

Cannes 2009 Winners

Cannes 2009 Winners:

Palme d’Or: “The White Ribbon” (Das Weisse Band), directed by Michael Haneke

Grand Prix (runner-up): “A Prophet” (Un Prophete), directed by Jacques Audiard

Prix Exceptional du Jury (Special Jury Prize): Alain Resnais, director of “Wild Grass”

Prix de la Mise en Scene (best director): Brillante Mendoza, director of “Kinatay”

Prix du Scenario (best screenplay): Feng Mei for “Spring Fever” (Chun Feng Chen Zui De Ye Wan), directed by Lou Ye

Camera d’Or (best first feature): “Samson and Delilah,” directed by Warwick Thornton
Special Mention: “Ajami,” directed by Scandar Copti, Yaron Shani

Prix du Jury (jury prize) - TIED: “Fish Tank,” directed by Andrea Arnold and “Thirst,” directed by Park Chan-wook

Prix d’interpretation feminine (best actress): Charlotte Gainsbourg for “Antichrist” (directed by Lars von Trier)

Prix d’interpretation masculine (best actor): Christoph Waltz for “Inglorious Basterds” (directed by Quentin Tarantino)

Palme d’Or (short film): “Arena,” directed by Joao Salaviza

Also winning awards at the 61st Festival de Cannes:

Prize of Un Certain Regard: “Dogtooth” (Kynodntas), directed by Yorgos Lanthimos
Jury Prize: “Police, Adjective” (Politist, Adjectiv), directed by Corneliu Porumboiu
Special Prize: “No One Knows About Persian Cats” (Kasi Az Gorbehaye Irani Khabar Nadareh), directed by Bahman Ghobadi
“Father of my children” (Le Pere de mes Enfants), directed by Mia Hansen-Love

Grand Prix: “Adieu Gary” by Nassim Amaouche (France)
SACD award: “Lost Persons Area” by Caroline Strubbe (Belgium / Netherlands / Hungary)
ACID/CCAS Support Award: “Sirta La Gal Ba” (Whisper With The Wind) by Shahram Alidi (Iraq)
OFAJ/TV5MONDE (VERY) Young Critic Award: “Sirta La Gal Ba” (Whisper With The Wind) by Shahram Alidi (Iraq)

Short Film Awards
Canal+ Award for Best Short Film: “Slitage” (Seeds of the Fall) de Patrik Eklund (Suede)
Kodak Discovery Award for Best Short Film: “Logorama” by Francois Alaux, Herve de Crecy, Ludovic Houplain (H5)

Other Prizes
Prize Regard Jeune: “Sirta La Gal Ba” (Whisper With The Wind) de Shahram Alidi (Iraq)

Art Cinema Award: “J’ai tue ma mere” (I Killed My Mother) by Xavier Dolan (Canada)
Special Mention: “La Merditude des choses” by Felix van Groeningen (Belgique/Belgium)
7e Prix Regards Jeunes 2009: “J’ai tue ma mere” (I Killed My Mother) by Xavier Dolan (Canada)
SACD Prize: “J’ai tue ma mere” (I Killed My Mother) by Xavier Dolan (Canada)
The Europa Cinemas Label: “La Pivellina” by Tizza Covi and Rainer Frimmel (Autriche/Austria)
French Short films prize: “Montparnasse” (France)

Cannes Competition: “The White Ribbon” (Das Weisse Band), directed by Michael Haneke
Un Certain Regard: “Police, Adjective” (Politist, Adjectiv), directed by Corneliu Porumboiu
Director’s Fortnight/Critics’ Week: “Amreeka”, directed by Cherien Dabis

Sunday, May 24, 2009

No Budget Film School

These guys know their stuff. Check it out.

The Principles and Secrets of Micro-Budget Filmmaking Revealed

"The Art & Science of No-Budget Filmmaking"
A Two-Day No-Budget Filmmaking Immersion

Saturday & Sunday, May 30 & 31, 2009
Raleigh Studios - Chaplin Theater
5300 Melrose Avenue, Los Angeles, CA 90038

Confirmed Guest Speakers:
Gregg Bishop (Director, "The Other Side," "Dance Of The Dead")
Peter Broderick (President, Paradigm Consulting)
Jay Duplass, (Director, "The Puffy Chair," "Baghead")
Alex Holdridge (Director, "In Search Of A Midnight Kiss")
Matt Radecki (Co-Director, "TV Junkie"; Founder, Different By Design)

If you're through talking about being a filmmaker and ready to become one, this will be the most practical filmmaking class you will ever take.

For more information and to register, please visit:

Tarantino Press Conference Cannes 2009

Interesting press conference with the Inglourious Basterds team. 


Saturday, May 23, 2009

Michael Moore's Request for Film Subjects

I found a request from controversial documentarian Michael Moore on the Huffington Post. Back in February 2009, he put out a call to those who work on Wall Street or in the financial industry to come forward and be in his new documentary. 

The word on the street is that he is doing a documentary on the economic crisis and the resulting $700 billion bailout. Moore called the bailout: the biggest robbery in the history of this country. This film sounds like it's going to be a doozy. I can't wait. It has a release date of October 2, 2009. 

Here is Michael Moore's request to those in the know, willing to talk. What I love is his no-holds-barred use of the internet to reach out and find his subjects for his film. And I bet it worked for him.

I found it intriguing. Maybe you will too...

Friday, May 22, 2009

Tweet Your Way to an Audience

Twitter is a social media platform for sharing information, ideas, products, and inane personal information. Along with learning about what someone had for breakfast, you can read the daily news in any arena you are interested in and find really useful links to articles that can help you with every facet of your life and career. 

Can it help you find an audience for your movies? Sure!

I have a twitter account: janekk, and from the first day I started it, I had followers. After a couple of months, I only have a couple hundred followers but it grows every single day. I probably average two to five new followers a day and they vary from all over the world and across many industries (not just film). 

I find twitter to be a great networking arena as well. I have already met a number of people in the film industry through twitter. And I am following and, in turn, being followed by major indie film players to whom I've never had major access prior. In fact, without my twitter account, I probably would never have interacted with  half of my followers. 

I tweet (things I write about on twitter) to my tweeps (the people who follow me on twitter) about the film industry. I may tweet about something I wrote on my blog or feature an article I find useful to filmmaking.

And as I tweet about filmmaking, I do plan to tweet about the films I am making. And those tweets will be seen by my tweeps who will hopefully check out my film and mention it to others. They may even tweet about it to their tweeps! And that tweeter may have thousands of followers!

As we know, word of mouth is essential for any film's success. One more person talking about my film could translate to a number of new audience members. He tells one friend who tells a friend who tells a friend and so on and so on. 

But isn't twitter full of nonsense? Sure there are tons of people talking about every move they make and that can get a bit annoying. But you take the good with the bad and just ignore or laugh at the silliness. 

Will only a couple hundred followers really help? It can't hurt. It may not make all your money back but it's a relatively easy and accessible way for you to take control over your publicity of your film. We need every tool we can find to get our films noticed. 

So start your twitter account and get talking. You never know who you'll reach and every new person who knows about your film is one more member of your audience. So why not twitter your way to a larger audience?

Wednesday, May 20, 2009

Very Independent Producers on Hulu

Very Independent Producers is a great show on Hulu with indie producers Ted Hope and Christine Vachon moderating. In each episode, Hope and Vachon interview a figure from the world of independent film. These are the movers and shakers of independent film. Watch them. Get to know them. Be like them.  

Email Exchange on How We Can Save Indie Film

Indie film producer Ted Hope sent out an email blast yesterday about Good Movies and What You Can Do to Save Them. Of course, I had to stop what I was doing and read and respond. Ted works hard to bring awareness to the current indie film plight:
  • distribution has dried up -- even on movies with known celebrities
  • distributors have folded
  • movies aren't selling
  • advances are smaller
  • investor money is hard to come by
  • pre-sales are nonexistent
I always like an opportunity to think about what we can do to make our situation better. I don't claim to have the answers. Neither does Ted. But maybe all this talking can lead to some answers. We hope you respond too!

Here is a link to Ted's email blast. 

Here is my response: 

Hi Ted,

I think the message is being heard but there are no real stand-out viable solutions on the landscape so everyone is talking and some are doing but no “real” solutions are being endorsed.

I feel we need to be reaching out to the masses on a global scale about our problems. We need to push out beyond the panels at film industry functions and the filmmaking community and reach our audience with our dilemma and our films. I was happy to see your interview on Fox Business. More of that needs to happen. We need Oprah and Larry King, etc. And we need exposure on a big level for our projects. How do we get our stars of our small films on The Today Show?

Before, we relied on the distributors to reach the audience and entice them to see our films. They have stopped doing that so we have to take that on and how does one filmmaker with one project really reach a large audience without help? I fear it’s impossible and breeds such inefficiency. This means filmmakers are re-inventing the wheel of reaching an audience over and over. How can we come together as filmmakers and build on our efforts of reaching an audience — a wide audience!

The ones with the power here is clear: the audience. If they want us, we will survive. Now, how do we get them to want us?

We need a Facebook or Twitter-like phenomenon that grabs the world’s attention — not just the filmmaking community. We need the audiences to stand up and support the indie filmmaking community and show they want to see these films. They need to start going to the theater more and renting indie film more. I think indie film was able to survive off its novelty for years but the novelty is gone. We flooded the world with indies and we have to figure out how to survive now that the novelty is gone.

The world is changing and we need to change with it. We should be focusing on audience awareness on a much higher level than just individual filmmakers blogging about their films and having a Facebook, MySpace page and Twitter account. Those efforts are great but are they really going to get the returns we need on our films to survive? I think we need to get out there in front of our audiences more. Just like politicians, we need to shake the hands of our supporters. We need to get in front of the media. Give the audience a reason to support us!

I know that’s hard because many of us don’t even have the means to finish our films much less do a marketing/publicity launch. But maybe if we realize that is what is needed for our success, we will start building public awareness funds into our projects and develop real ideas that work in reaching the masses. Marketers for the studios have figured out how to reach the masses. We need marketing ideas that help us to get the word out on a global scale with real results that don’t get drowned out by the studio megaphones.  

We can do this. We just have to embrace the key to our survival: the audience, and really focus our efforts on reaching them. And I think it needs to be teamwork. DIY or Do It Yourself gives me the chills. It’s too small, exhausting, and inefficient. We need DIT or Do It Together.


Tuesday, May 19, 2009

Interested in Branded Communication? Enter this competition.

Legendary director, producer, writer and actor, Spike Lee, has joined 12 global brands and Mofilm to provide filmmakers a chance to be famous.  The Mofilm “You to the Power of 12- U12” competition gives creatives all over the world the chance to develop branded communication via video for some of the world’s leading brands in a competition designed to showcase global talent at the Cannes Lions 2009 Advertising Festival, held in the South of France from June 21-27.  The competition allows filmmakers to tell their story and gain visibility in front of top brands and an estimated 10 million video, internet and mobile viewers worldwide. The winner will receive more than $120,000 in prizes and a chance to be on set of Spike Lee’s next production. 


Mofilm brought together a powerhouse set of 12 brands to give a stage to creative talent around the world. Participating brands include AT&T, Best Buy, PepsiCo (Doritos), Hewlett Packard, Kodak, Renaissance Hotels and Resorts, Nokia, Philips, Telstra Australia, Unilever (Omo),Visa and Vodafone. Each brand has posted a brief on the MOFILM website explaining the guidelines to enter. Briefs are not limited to ideas linking directly to the brands themselves.


The last entries will be accepted on June 8, 2009 at 8:00 am GMT.  To submit video entries, please visit MOFILM at


This event follows the highly successful MOFILM short film festival recently hosted by Kevin Spacey at the GSMA Mobile World Congress in February, which saw filmmakers from more than 100 countries compete to showcase their work and win prizes including a new Chevrolet Cruze.


Monday, May 18, 2009

What Rate of Return Should You Offer Your Indie Film Investors?

Investing in a film is risky business but it can yield high returns if the film is a success. And it's the rate of return that is most important to investors. They invest to create wealth and they are taking a chance on your film to help them do just that.

So what do you offer investors in order to entice them to put money into your film?

The standard rates of return are anywhere from 110% to 125%. This means, should your film make enough money to pay your investors back, they can expect 100% recoupment of their investment plus an interest of 10 to 25 percent (depending on your offer). Of course, you can go lower or higher. It's up to the filmmakers to set the rate of return.

Why these figures? Well, you want to be competitive with other investment vehicles. Over time, the stock market has shown a rate of return of 10% over the long term. So 110% has you on par with the stock market. 

So why wouldn't investors just invest in the stock market -- even though the stock market is reeling right now, history tells us it will bounce back eventually? 

Good question. Well, investors like to diversify and investing in film may help them to diversify their portfolio nicely. Or maybe they love movies and this is a way for them to be involved in filmmaking. Whatever their reason, a competitive rate of return can help an investor take a chance on your film.

Also, if you have a film that is riskier than others then you may want to go with a higher rate of return in order to make your film more attractive to investors. I have offered 25% a few times because I knew the film was a riskier investment. 

What makes a riskier film?

1) First-time director 
2) First-time producer
3) Difficult subject matter
4) Niche audience project
5) No name actors
6) High budget required

There are many other factors that could make your film riskier than others. You need to weigh that risk and also the difficulty of finding investors and decide what kind of return you want to provide, accordingly.

Now what about profits? How do you split profits? 

The standard split of profits is 50% to Producers and 50% to Investors. Producers can take their 50% of the profits (otherwise known as Back End) and give it out to people like the cast or crew or even vendors in order to attract them to work on their projects. Normally, you do not touch the investor profits when giving out Back End. The Investor 50% remains with investors members only.

For example, you might pay Joe Actor $20,000 in pay upfront but also offer him 2% of the Producer Net Profits. 

In addition to offering returns of money, you can also offer credits (like Executive Producer) if an investor brings a significant percentage of the budget to the project. 

Just remember, a return from a film investment should never be guaranteed. And you must be extremely clear about that from the start. Shout it from the mountaintops if you have to -- just don't mislead your investors. Investing in film is risky and recoupment and a return is not guaranteed. 

The day you can pay your investors back is very exciting for everyone (not just the investors). This means your film was a success. And it usually means you get to make more films and have an easier time finding the money. So make a great film and get that money back so you can keep making more and help indie film survive. We need you to be a success!

Sunday, May 17, 2009

Challenges of Indie Films

This is a must-watch video for all us indie filmmakers. This is the state of the industry today. Let's help change it and get that capital I back in Independent film. 

Friday, May 15, 2009

How Do You Find Investors?

Filmmaking takes money. It's not only a creative pursuit. It's a real investment opportunity. And if you are trying to make an independent film, you will need to find investors. You may luck out and find a company that will foot the bill. But what if you don't? How do you find investors?

The way to find investors is to ask around. Ask your friends, family and colleagues for referrals to people who are known to have money and may be open to unique investments. Filmmaking is a high-risk investment but it can pay off if the film makes enough money to pay the investors back. And usually at a high rate of return.  

You need to find those investors willing to take a huge risk on your project as they may never get that money back. These investors are not easy to find but they are out there. It takes a lot of time, patience, and willingness to ask people for money. 

If you don't have the contacts to those with money or the thought of approaching others for money makes you sick to your stomach, don't give up. Think about finding someone who does have those contacts and the outgoing nature and see if he or she would like to be an Executive Producer on your film. They can be in charge of approaching their contacts for the money. This person may be an accountant or lawyer or a professional who interacts with others with money. 

I don't know of anyone who has had much luck with venture capital when it comes to investing in film. Venture capitalists like big investment opportunities in fields they understand. And most venture capitalists don't understand film. And what they don't understand, they don't invest in.

In addition, I don't recommend the cold call. The best success is a referral from a trusted source to an investor. So focus your energies on your contacts who may be able to introduce you to other contacts with money.

Once you have some referrals or even one referral, present them with a business plan that explains your film and how the money is going to be handled in the film. This is a business and you should have a plan that treats the money in a professional way. 

If you don't have a business plan or even a company for the film in which the investor will become a member then you should take a few steps back and spend time educating yourself on how to open a company and craft a business plan for a film. Entertainment lawyers or other producers can help guide you appropriately. 

Then get out there and turn over every rock you can find and then find more rocks.

Thursday, May 14, 2009

Do People Really Make Movies on Credit Cards?

Yes. Should they? No. Will they continue to? Yes. Have I? Partially. 

Credit cards are an evil component of filmmaking. It's very easy to get low on cash when making a film and then start throwing the credit card around to pick up the slack. The next thing you know, you've spent thousands and thousands of dollars on your little indie film and it's all on your personal credit. 

Unfortunately, credit is not free money. It does need to get paid back. And when your film is over, you may find that you may never pay off that credit from the sale of your film. So when you go to use that credit card during the making of your film, make sure you are prepared to pay that card off from your personal funds. 

I know of success stories where filmmakers put hundreds of thousands of dollars on credit cards to make their films and they were able to pay off the credit cards from the sale of the film. However, I know many more stories of filmmakers leveraging their homes and using their credit cards and never even making a dent in that debt from their films. It's a huge gamble to use your own credit and expect the film to pay it off. Huge gamble! Did I just say Huge Gamble? Yes.

When you use a credit card on your film, you need to assume that you will have to personally pay off the debt (which is actually more likely to happen). Consider it a miracle if your film pays off your credit card expenditures. 

That being said, try your best to not use your own personal credit cards on filmmaking. It's hard enough to survive as an independent filmmaker, much less having to pay off a film that is collecting dust on your bookshelf. 

Yes, I have used credit cards to pick up the slack on my films. BUT, I do expect to be the one to pay off the bill. So before I plunk down my own personal credit, I ask myself if I am willing to cover that expense. If so, I do it. If not, I don't. It comes down to making a choice and living with the consequences. 

Producers are the go-to money people but if you don't have it, speak up. Don't just pick up the tab because you are the producer. This is where smart pre-planning and budgeting comes into play. Make sure you have enough money to get you through production and if you run out, have a plan for finding more. Fortify yourself with a million back-up plans that aren't your own credit cards. 

Remember, you are in this for the long haul. You don't want to go broke from your first film or you may never achieve your goal of being an independent producer. We've all been there and the temptation is strong to just whip out the credit card, but stop and really think about what that means for your future. 

Tuesday, May 12, 2009

Attending the Film Markets

At any level of filmmaking, it's important to be knowledgeable in how film markets work and who the major players are who attend. And the best way to learn is to attend and read the market materials and visit the sales booths. 

The major film markets include the American Film Market in Los Angeles (November), the Cannes Film Market (Marche du Film) in France (May), and the European Film Market in Berlin, Germany (February). 

Film markets are different than festivals. They consist of sales representatives selling films. By attending, you are getting a sense of what kind of titles are selling that year and who the big sales companies are. It also tells you what actors and directors are in demand. And by getting your face and name out there, people are getting to know you as a filmmaker. And as we know, networking is important.

The film markets do coincide with film festivals so they are easily mistaken for each other. The European Film Market coincides with the Berlin Film Festival, the Marche du Film with the Cannes Film Festival and the American Film Market (AFM) with the American Film Institute (AFI) Fest. However, the markets are about selling films, not featuring and awarding them. 

The film markets do hold screenings of the films that are for sale. These are sales screenings intended for distributors. In order to attend, you are usually invited by the sales company or you may try to invite yourself (the sales booths may have extra tickets), and often the initial screenings of a major title are followed by a cocktail reception. 

As a new filmmaker, it may be intimidating to visit a market. People are moving fast and they are swamped with sales meetings. If you want to actually sit down with a sales rep, it's nearly impossible to do that without a prior meeting set at least a couple of weeks in advance of the market. You may get lucky if you reach out during the market but unless you have a major project of interest, you will be hard pressed to meet a busy sales rep unless you pre-plan accordingly. Even then it can be tough.

Don't get discouraged. You can always try to meet sales reps after the markets in Los Angeles or New York or via email. A ton of business is done via email. I still have yet to meet a major investor in one of my films. We did everything via the phone and email. 

So if you can't pin down a sales rep during a market. Follow up afterward. But be sure to give them time to weed through the post market deals they are wrapping up. They can be just as busy upon their return as when they were at the market -- even busier as they are now back home and dealing with pre-market tasks too. 

Bottomline, you should try to attend markets for the experience, the knowledge, and the relationships -- and even the good time (who doesn't want to be in the South of France in May?).

Monday, May 11, 2009

Producer Reps

Producer Reps are very important people. They help you sell your films. Here is a list of a few producer reps who tend to be very indie friendly -- a great place to start when you begin your search for a rep. (Note: William Morris and Endeavor are merging so their contact information should be changing in the near future. And contact names can change.) Good luck!

Cinetic Media
John Sloss

T 212-627-9898

F 212-627-9498

Circus Road Films

Zac Reeder/Glen Reynolds

T 818-991-0110

F 818-230-0609

Creative Artists Agency (CAA)

Brian Kavanaugh-Jones/Roeg Sutherland

T 424-288-2000

F 424-288-2900

Jonathan Dana

T 310-273-0194

Jeff Dowd

T 310-572-1500

F 310-572-1501

Echo Lake Productions

Amotz Zakai

T 310-789-4790

F 310-789-4791

Eastgate Pictures

Rona Wallace

T 212-751-6234

Emerging Pictures 

Ira Deutchman

T 212-245-6767

Endeavor Talent Agency

Graham Taylor

T 310-248-2000

The Film Sales Company

Andrew Herwitz

T 212-481-5020

F 212-481-5021

Lantern Lane Entertainment Ltd.

David Garber

T 818-222-2309

F 818-224-4028

Required Viewing

Steven Raphael

T 212-206-0118


Josh Braun 

T 212-625-1410

Traction Media

Asher Goldstein

T 310-385-0770

F 310-385-0771

United Talent Agency (UTA)

David Flynn

T 310-288-3863

F 310-247-1111

William Morris Agency

Jerome Duboz

T 310-859-4000

F 310-859-4462

Friday, May 8, 2009

Global Film Initiative Accepting Applications for $10k Film Grants

Global Film Initiative is accepting applications for its Summer 2009 feature-film production grants. Start writing your grant application! Here's the deal from the GFI Web site

In its continuing effort to promote original filmmaking by individuals from around the world, The Global Film Initiative is pleased to announce the Summer 2009 cycle of its feature–film Production Grants program. Applications will be accepted from April 30, 2009 to July 15, 2009, and decisions will be announced in September 2009.

Global Film Initiative production grants are awarded twice a year, in winter and summer, to filmmakers whose work exhibits artistic excellence, authentic self-representation and accomplished storytelling. The granting program furthers the Initiative's mission of contributing to the development of local film industries while offering audiences a variety of cultural perspectives on daily life around the world. Monies received through the Initiative's granting program are used to support completion of film production, and to subsidize post-production costs, such as laboratory and sound mixing fees and access to modern editing systems.

This year, the Global Film Initiative will award production grants of up to $10,000 each to select applicants during its Summer granting cycle. These funds are made available following the Initiative's evaluation of an applicant's completed screenplay and early film-footage, and may include a pre-sale option for exclusive U.S. distribution of an applicant's film by the Initiative. Individuals may submit more than one film for consideration per granting cycle but please note that only applications from qualifying countries or regions will be considered and that production grants are not available for documentary or short films.*

The Global Film Initiative strongly believes in supporting narrative storytelling traditions from around the world and invites all qualified applicants to submit their work for granting consideration. For Applications & Guidelines, please see the links to the left of the screen. 

Application deadline: July 15, 2009. Applications will be accepted starting April 30, 2009. 

*The Global Film Initiative accepts grant applications from countries in the following regions: Latin America, the Caribbean, Africa, the Middle East, Asia (excluding Hong Kong, Iran, Japan, South Korea, Singapore, and Taiwan), and Oceania (excluding Australia and New Zealand).

Los Angeles Film Festival 2009 Line Up

The 2009 Los Angeles Film Festival will screen more than 70 feature films, 70 shorts, and 50 music videos.

  • Public Enemies (DIRECTOR Michael Mann WRITERS Ronan Bennett and Michael Mann & Ann Biderman PRODUCERS Kevin Misher, Michael Mann CAST Johnny Depp, Christian Bale, Marion Cotillard, Jason Clarke, Rory Cochrane, Billy Crudup, and Stephen Dorff) - In the action-thriller Public Enemies, acclaimed filmmaker Michael Mann directs Johnny Depp, Christian Bale, and Academy Award® winner Marion Cotillard in the story of legendary Depression-era outlaw John Dillinger (Depp) -- the charismatic bank robber whose lightning raids made him the number one target of J. Edgar Hoover’s fledgling FBI and its top agent, Melvin Purvis (Bale), and a folk hero to much of the public.



  • Dear Lemon Lima, (DIRECTOR/WRITER Suzi YoonessI PRODUCERS Melissa Lee, Jonako Donley CAST Savanah Wiltfong, Shayne Topp, Melissa Leo, Beth Grant, Elaine Hendrix, Meaghan Jette Martin, Vanessa Marano, Zane Huett, Eleonor Hutchins) - As sweet and colorful as a snow cone, this delightful happy-sad confection follows an awkward Alaskan teen as she discovers her Yup'ik heritage while rallying her fellow misfits to compete in her school's Snowstorm Survivor competition. World Premiere
  • Harmony & Me (DIRECTOR/WRITER Bob Byington PRODUCER Kristen Tucker CAST Justin Rice, Kevin Corrigan, Pat Healy, Kristen Tucker) - Break-ups are never easy, but as twenty-something Harmony learns in this offbeat, eloquent film, there's nothing like weird family, odd friends, and great music to help you hang on to your pain.
  • Hollywood, je t’aime (DIRECTOR/WRITER Jason Bushman PRODUCER Charles Herman-Wurmfeld CAST Eric Debets, Chad Allen) - After a spat with his boyfriend, Jerome escapes a wintery Paris in search of his California dreams, finding romance and friendship with the pot dealers, drag queens, and locals of the "real" Hollywood. World Premiere
  • Passenger Side - Canada (DIRECTOR/WRITER Matt Bissonnette PRODUCER Corey Marr CAST Adam Scott, Joel Bissonnette, Robin Tunney) - Tobey needs a ride from his brother, except he won't say where to or what for. Family bonds bend but don't quite break on this comedic trail of lost loves and old grievances. World Premiere
  • Turistas - Chile (DIRECTOR/WRITER Alicia Scherson PRODUCER Macarena Lopez CAST Aline Kuppenheim, Diego Noguera, Marcelo Alonso) - Abandoned by her husband while on holiday, Carla unexpectedly finds herself vacationing in a national park, alongside a Norwegian backpacker and a former pop star-turned-ranger, in this tale of self-discovery and the laws of nature. U.S. Premiere
  • Wah Do Dem (What They Do) (DIRECTORS/WRITERS Sam Fleischner, Ben Chace PRODUCERS Sam Fleischner, Katina Hubbard, Ben Chace, Martha Lapham, Henry Kasdon; CAST Sean Bones, Norah Jones, Kevin Bewersdorf, Carl Bradshaw) - Max's dream Caribbean cruise becomes a solitary odyssey after his girlfriend dumps him days before their departure. Now, he'll have to go with the Jamaican flow in this disarming and incisive debut feature. World Premiere
  • Zero Bridge (DIRECTOR/WRITER Tariq Tapa PRODUCERS Hilal Ahmed Langoo, Josee Lajoie, Tariq Tapa CAST Mohamad Emran Tapa, Ali Luhammed Dar, Taniya Khan) - Teen pickpocket Dilawar wants to escape his dreary life, but a chance encounter with one of his victims upends his plans in this gritty, moving story about life in occupied Kashmir. U.S. Premiere



  • After the Storm (DIRECTOR Hilla Medalia WRITER Bob Eisenhardt, Hilla Medalia PRODUCERS Hilla Medalia, James Lecesne FEATURING Gerry McIntyre, James Lecesne, Randy Redd) - A celebration of perseverance and rebirth through the arts, this inspiring documentary follows a group of New Orleans teens as they stage a revival of the hurricane-themed musical Once on this IslandWorld Premiere
  • Bananas!* - Sweden (DIRECTOR Fredrik Gertten PRODUCER Margarete Jangård FEATURING Juan Dominguez) - The human cost of banana cultivation is revealed in this documentary chronicling the historic case of Nicaraguan laborers, represented by L.A. attorney Juan Dominguez, against the companies who poisoned them with pesticides. World Premiere
  • Branson (DIRECTOR/WRITER Brent Meeske PRODUCERS Brent Meeske, Jack Black, Ben Cooley, Justin Moore-Lewy, Charlie Mason FEATURING Jackson Cash, Amber Campbell, Geoffrey Hastings Haberer) - Personal demons and backstage battles cannot deter the performers captured in this heartfelt documentary from living out their dreams of stardom on the strip-mall stages of Branson, Missouri. World Premiere
  • Convention (DIRECTOR AJ Schnack PRODUCERS Jennifer Chikes, Britta Erickson, Shirley Moyers, AJ Schnack, Nathan Truesdell) - Capturing what the mainstream media missed, this fast-paced verité documentary follows the efforts of Denver city officials and reporters to deal with the impact of hosting the historic 2008 Democratic National Convention.
  • The Last Beekeeper (DIRECTOR Jeremy Simmons PRODUCERS Fenton Bailey, Randy Barbato) - An intimate look at the struggles of three American beekeepers becomes a painful meditation on the devastating effects of economic and ecological change when a mysterious illness among the bees threatens both insects and businesses.
  • October Country (DIRECTORS Michael Palmieri, Donal Mosher PRODUCERS Michael Palmieri, Donal Mosher FEATURING The Mosher Family) - A beautifully crafted, atmospheric portrait of a family in upstate New York haunted by the past, yet bound together by their struggles to break a cycle of hard luck and bad choices.  World Premiere
  • Those Who Remain - Mexico (DIRECTORS Juan Carlos Rulfo, Carlos Hagerman PRODUCERS Juan Carlos Rulfo, Carlos Hagerman, Martha Sosa Elizondo, Nicolas Vale) - From this intimate and discerning depiction of the impact of migration on families and villages left behind by loved ones who have traveled North for work emerges a nuanced portrait of "the other side" of the immigration story. U.S. Premiere



  • Adhen - France/Algeria (DIRECTOR/PRODUCER Rabah Ameur-Zaïmeche WRITERS Rabah Ameur-Zaïmeche, Louise Thermes CAST Salim Ameur-Zaïmeche, Abel Jafri, Sylvain Roume, Christian Milia-Darmezin) - Talk of living wages and religious observances upsets the delicate accord between the boss of a run-down truck yard and his workers in this visually arresting take on the French-Algerian immigrant experience.
  • Autumn – Turkey/Germany (DIRECTOR/WRITER Özcan Alper PRODUCER F. Serkan Acar CAST Yusuf Onur Saylak, Gülefer Raife Yenigül, Eka Megi Kobol) - Özcan Alper's gorgeous debut follows a former student's return home after serving 10 years in prison for socialist activity. Weakened in body and soul, he struggles to find purpose in a life that has passed him by.
  • Birdwatchers - Italy/Brazil (DIRECTOR Marco Bechis WRITERS Marco Bechis, Luiz Bolognesi PRODUCERS Marco Bechis, Caio Gullane, Fabiano Gullane, Amedeo Pagani CAST Claudio Santamaria, Chiara Caselli, Matheus Nachtergaele, Leonardo Medeiros, Alicélia Batista Cabreira, Taiane Arce) - Tensions escalate when a tribe of indigenous Guarani Indians attempts to re-inhabit their ancestral land—which lies on the border of a wealthy landowner's fields—in this powerful critique of contemporary life in the Amazon.
  • Bronson - England (DIRECTOR Nicolas Winding Refn WRITERS Nicolas Winding Refn, Brock Norman Brock PRODUCERS Daniel Hansford, Rupert Preston CAST Tom Hardy, Matt King, James Lance, Amanda Burton) - A portrait of the artist as a bare-knuckled brawler, this take on "Britain's most dangerous prisoner" is a biopic like no other, providing eye-popping visuals and broken teeth in equal measure.
  • Calimucho - Netherlands (DIRECTOR Eugenie Jansen WRITERS Natasha Gerson, Rogier Blok PRODUCER Stienette Bosklopper CAST Dicky Kilian, Willy Soeurt, Peter Verberk, Ellie Teeuw, Tarek Hannoudi, Freddy Kenton, Evelyne Bouglione, Timo Soeurt) - Taking a documentary approach to a fictional story with disarming results, Calimucho follows a woman growing weary of life with a small traveling circus and a man who can imagine nothing else.
  • Call If You Need Me - Malaysia (DIRECTOR/WRITER James Lee PRODUCER Stienette Bosklopper CAST Sunny Pang, Pete Teo, Chua Thien See) - A newcomer rises through the ranks of Kuala Lumpur's criminal underworld, while his cousin makes plans to leave the life behind in this flawlessly shot heartbreaker, equal parts gangster epic and elegy to lost innocence. North American Premiere
  • Carmen Meets Borat - Netherlands (DIRECTOR/WRITER Mercedes Stalenhoef PRODUCER Pieter van Huystee) - Truth is stranger—and far more compelling—than fiction in this darkly comic documentary about the aftermath of a Hollywood film shoot on a small Roma village and a 17-year-old girl with dreams of a better life.
  • City of Borders - Israel (DIRECTOR/WRITER/PRODUCER Yun Suh FEATURING Sa'ar Netanel, Boody, Samira Saraya, Ravit Geva, Adam Russo) - Borders and barbed wire are not enough to keep Israelis and Palestinians from mingling in the sole gay bar in Jerusalem, a city determined to deny the thriving gay community within its own walls.
  • Elementary Training for Actors - Argentina (DIRECTORS/WRITERS Martín Rejtman, Federico León PRODUCERS Canal T Argentina, Ruda Films CAST Fabían Arenillas, Carlos Portaluppi, Matías Delgado) - Stanislavski has nothing on Sergio, who leads experimental acting workshops for the grade-school set. Equal parts droll and outlandish, this comedy will forever change the way you look at child actors. International Premiere
  • Extraordinary Stories - Argentina (DIRECTORS/WRITERS Mariano Llinás PRODUCER Laura Citarella CAST Mariano Llinás, Agustin Mendilaharzu, Walter Jakob) - In this adventurous experiment in storytelling, secret identities, missing persons, lost treasures, exotic beasts and desperate criminals are only a few of the elements woven into a grand tapestry of mysteries.
  • High-Rise - Brazil (DIRECTOR/WRITER/PRODUCER Gabriel Mascaro) - What does it mean to have a penthouse in poverty-filled Brazil? Interweaving resident interviews and vistas from above, this is a hypnotic and revealing examination of the real view from the top.  North American Premiere
  • Los Bastardos - Mexico (DIRECTOR Amat Escalante WRITERS Amat Escalante, Martín Escalante PRODUCERS Jaime Romandia, Carlos Reygadas CAST Jesús Moisés Rodríguez, Rubén Sosa, Nina Zavarin, Kenny Johnston) - Pulp crime and cinematic formalism collide in this hauntingly visceral portrait of two Mexican day laborers moved to desperate deeds in a hellish contemporary Los Angeles.
  • Mid-August Lunch - Italy (DIRECTOR/WRITER Gianni di Gregorio PRODUCER Matteo Garrone CAST Gianni di Gregorio, Valeria de Franciscis, Marina Cacciotti, Maria Calí, Grazia Cesarini Sforza, Alfonso Santagata) - In this delightful comedy, an obliging middle-aged son finds himself waiting, hand and foot, on a spry but temperamental geriatric foursome—including his own mother—during the traditional August holiday.
  • My Dear Enemy - South Korea (DIRECTOR Lee Yoon-ki WRITERS Lee Yoon-ki, Park Eun-young PRODUCERS David Cho, Cho Kwang-hee, Oh Jung-wan CAST Jeon Do-youn, Ha Jung-woo) - When a stern young woman demands her charming but feckless ex repay a long-standing loan, the two embark on an all-day road trip around Seoul in this comedy of relationships and restitution.
  • Our Beloved Month of August - Portugal/France (DIRECTOR Miguel Gomes WRITERS Miguel Gomes, Mariana Ricardo, Telmo Churro PRODUCERS Luís Urbano, Sandro Aguilar; CAST Miguel Gomes, Mariana Ricardo, Telmo Churro) - In this playfully inspired mix of documentary and fiction—steeped in the atmosphere of summer in a poor, mountainous region of Portugal—tensions mount between a father, daughter and cousin in a traveling pop band.
  • The Queen and I - Sweden (DIRECTOR Nahid Persson Sarvestani WRITERS Nahid Persson Sarvestani, Zinat S. Lloyd) - Two Iranian exiles—a left-wing filmmaker and the deposed Shah's widow, Queen Farah—form an unlikely bond in this illuminating and compassionate documentary about life after the Islamic revolution.
  • Sacred Places - France/Cameroon (DIRECTOR/WRITER/PRODUCER Jean-Marie Téno FEATURING Nanema Boubakar, Jules Cesar Bamouni, Abbo Idrissa Ouedraogo) - Tracing a lineage from the West African traditional djembe drum to makeshift cine-clubs in Ouagadougou where patrons pay a dime to watch Jackie Chan DVDs, this film celebrates community and cinema in equal measure.
  • Stella - France (DIRECTOR/WRITER Sylvie Verheyde PRODUCER Bruno Berthemy CAST Léora Barbara, Karole Rocher, Benjamin Biolay, Guillaume Depardieu) - Paris, 1977. 11-year-old Stella knows poker better than grammar when she starts the year at a prestigious new school. There, she discovers the possibilities of a whole new world outside her parents' bar.
  • Unmade Beds – England (DIRECTOR/WRITER Alexis dos Santos PRODUCERS Soledad Gatti-Pascual, Peter Ettedgui CAST Deborah Francois, Fernando Tielve, Michiel Huisman, Iddo Goldberg, Richard Lintern)- Intimate and immediate, this look at the lives of two twenty-somethings adrift in London’s East Side pulsates with a youthful energy that is bolstered by a great soundtrack and winning performances.
  • A Week Alone - Argentina (DIRECTOR Celina Murga WRITERS Celina Murga, Juan Villegas PRODUCER Juan Villegas CAST Magdalenta Capobianco, Eleonora Capobianco, Ignacio Giménez) - Left to their own devices for a week in their gated community, a group of privileged kids occupy themselves with swimming, vandalism, and chocolate milk in this keenly observed portrait of teenage yearnings and summertime revelries.
  • West of Pluto - Canada (DIRECTORS/WRITERS/PRODUCERS Henry Bernadet, Myriam Verreault CAST Alexis Drolet, David Bouchard, Anne-Sophie Lamontagne, Yoann Linteau, Sandra Jacques, Denis Marchand, Thomas Gionet-Lavigne) - With humor, style and an unerring ear for the language of youth, this mosaic look at a day in the lives of 12 Quebec high schoolers strikingly captures the unique nature of the teenage years.


INTERNATIONAL SPOTLIGHT – Documenting Mexico: Selections from the Ambulante Film Festival:

  • Born Without - Mexico (DIRECTOR/WRITER Eva Norvind PRODUCERS Eva Norvind, Nailea Norvind, Donald K. Ranvaud FEATURING José Flores, Graciela Flores, Alejandro Jodorowsky) - A remarkably frank portrait of the lives and loves of José Flores—a street musician, actor, father of six, and Romeo who was born without arms and stands only 3' tall.
  • El General - Mexico/USA (DIRECTOR Natalia Almada PRODUCERS Daniela Alatorre, Natalia Almada) - This poetic film essay by his great-granddaughter on the imposing and controversial General Calles—President of Mexico from 1924-28—is a rich reflection on memory, family biography and national history.
  • Rehje - Mexico (DIRECTORS Anaís Huerta, Raúl Cuesta WRITER Anaís Huerta PRODUCERS Raúl Cuesta, Anaís Huerta) - Longing to escape the pressure and turmoil of Mexico City, a native Mazahua woman returns to her hometown only to find that things are not as idyllic as she remembered. International Premiere



  • 35 Shots of Rum - France (DIRECTOR Claire Denis WRITERS Claire Denis, Jean-Pol Fargeau PRODUCER Bruno Pésery CAST Alex Descas, Mati Diop, Nicole Dogue, Grégoire Colin, Jean-Christophe Folly) - A father and daughter’s love for one another is at the heart of this intimate drama of friends and family dealing with the gentle passage of time and the ever-shifting bonds that hold them all together.
  • Big River Man (DIRECTOR John Maringouin PRODUCERS Maria Florio, Molly Lynch, John Maringouin, Kevin Ragsdale; FEATURING Martin Strel, Borut Strel, Matthew Mohlke) - This hallucinatory epic follows a middle-aged, pot-bellied, hard-drinking Slovenian—the endurance swimmer Martin Strel—stroke by stroke into the heart of darkness as he attempts to swim the long and perilous Amazon River.
  • Cold Souls (DIRECTOR/WRITER Sophie Barthes PRODUCERS Dan Carey, Elizabeth Giamatti, Paul Mezey, Andrij Parekh, Jeremy Kipp Walker CAST Paul Giamatti, David Strathairn, Dina Korzun, Emily Watson) - Paul Giamatti plays Paul Giamatti in this idiosyncratic comedy in which soul extraction is a unique form of stress relief. He soon finds out that the side effects of "soul storage" can get absurdly complicated.
  • Facing Ali (DIRECTOR Pete McCormack PRODUCER Derik Murray FEATURING Muhammad Ali, George Chuvalo, Sir Henry Cooper, George Foreman, Joe Frazier) - A gorgeous documentary portrait of the men who braved the boxing ring to face the greatest: Muhammad Ali. These heavyweights provide an intimate and moving study of the sport and the man.
  • Humpday (DIRECTOR/WRITER/PRODUCER Lynn Shelton CAST Mark Duplass, Joshua Leonard, Alycia Delmore, Steven Schardt) - One drunken evening, two old buddies dare each other to have sex together for an "art" porn film in the most hilarious, awkward, and surprisingly authentic bromance of them all.
  • In the Loop - England (DIRECTOR Armando Iannucci WRITERS Jesse Armstrong, Simon Blackwell, Armando Iannucci, Tony Roche PRODUCERS Adam Tandy, Kevin Loader CAST Peter Capaldi, Tom Hollander, Gina McKee, James Gandolfini) - In this hilarious, multi-character political satire, Brits and Americans engage in backroom manipulation, back-stabbing, seduction, and other dirty dealings in the build up to an international military engagement.
  • It Might Get Loud (DIRECTOR Davis Guggenheim PRODUCERS Thomas Tull, Lesley Chilcott, Peter Afterman, Davis Guggenheim FEATURING The Edge, Jimmy Page, Jack White) - Witness the stuff legends are made of when Jack White, The Edge, and Jimmy Page come together to talk—and play—guitars in this exhilarating jam session of distinct philosophies and atomic sounds.
  • No Impact Man (DIRECTORS Laura Gabbert, Justin Schein PRODUCERS Laura Gabbert, Eden Wurmfeld CAST Colin Beavan, Michelle Conlin) - Environmentalist Colin Beavan embarks on an extreme experiment in green living—forgoing take-out, electricity, and even toilet paper—and drags his retail and caffeine-loving wife along with him in this smart and entertaining documentary.
  • Paper Heart (DIRECTOR Nicholas Jasenovec WRITERS Nicholas Jasenovec, Charlyne Yi PRODUCERS Sandra Murillo, Elise Salomon CAST Charlyne Yi, Michael Cera, Jake Johnson) - Despite professing a belief that she's incapable of love, comedian and actress Charlyne Yi finds herself falling for Michael Cera in this utterly charming and intoxicating mix of documentary, improvisation, and romance.
  • Still Walking - Japan (DIRECTOR/WRITER Hirokazu Kore-eda PRODUCERS Yoshihiro Kato, Hijiri Taguchi CAST Hiroshi Abe, Yui Natsukawa, You, Kazuya Takahashi, Shohei Tanaka, Kirin Kiki, Yoshio Harada) - In this bittersweet, quietly poetic film, old resentments and new tensions bubble to the surface when a family reunites for the fifteenth anniversary of its eldest son's premature death.
  • We Live In Public (DIRECTOR Ondi Timoner PRODUCERS Ondi Timoner, Keirda Bahruth) - Now forgotten, Josh Harris was once dubbed the internet's Andy Warhol -- only instead of 15 minutes, he streamed his entire life for voyeurs. This disturbing documentary is a cautionary tale about technology, privacy, and fame.



  • Embodiment of Evil - Brazil (DIRECTOR José Mojica Marins WRITERS José Mojica Marins, Dennison Ramalho PRODUCERS Paulo Sacramento, Debora Ivanov, Caio Gullane, Fabiano Gullane CAST José Mojica Marins, Helena Ignez, Luis Melo, Jece Valadao) - Brazilian horror icon Coffin Joe returns in this delightfully demonic cavalcade of bloody bodies and bared breasts, slaying his way through a small town as he searches for a worthy mate.
  • I Sell the Dead (DIRECTOR/WRITER Glenn McQuaid PRODUCERS Peter Phok, Larry Fessenden CAST Dominic Monaghan, Larry Fessenden, Angus Scrimm, Ron Perlman) - Two wily grave robbers in 18th century England get more than they bargained for when their corpses start biting  back in this ghoulishly delightful comedy horror romp.



  • Weather Girl (DIRECTOR/WRITER Blayne Weaver PRODUCERS Tricia O'Kelley, Steak House CAST Tricia O'Kelley, Patrick J. Adams, Ryan Devlin, Mark Harmon, Kaitlin Olson) - After she melts down on live television, a Seattle weather girl finds herself with no job, no boyfriend, and no apartment. It could be the best thing that's ever happened to her.
  • ZMD: Zombies of Mass Destruction (DIRECTOR Kevin Hamedani WRITERS Kevin Hamedani, Ramon Isao PRODUCER John Sinno CAST Janette Armand, Ali Hamedani, Doug Fahl, Cooper Hopkins, Ryan Barret, James Mesher, Bill Johns, Cornelia D. Moore) - Life in a conservative small town is complicated enough for a young Iranian-American woman and a not-completely-out gay couple, but now they also have to deal with zombie hordes in this splatter-filled comedy.



  • 13 Most Beautiful… Songs for Andy Warhol’s Screen Tests (DIRECTOR Andy Warhol FEATURING Richard Rheem, Ann Buchanan, Paul America, Edie Sedgwick, Billy Name, Susan Bottomly, Dennis Hopper, Mary Woronov, Freddy Herko, Nico, Ingrid Superstar, Lou Reed, Jane Holzer) - Acclaimed musical group Dean & Britta provide live accompaniment to Andy Warhol’s starkly beautiful black & white 16mm portraits of Factory luminaries like Nico, Lou Reed, and Edie Sedgwick.
  • All Tomorrow’s Parties - England (DIRECTOR Jonathan Caouette, All Tomorrow's People PRODUCER Luke Morris FEATURING Sonic Youth, Belle and Sebastian, Daniel Johnston, Nick Cave, Mogwai) - This vibrant kaleidoscope of sounds and images from the history of the legendary British music festival features performances by Belle and Sebastian, Mogwai, Animal Collective, Sonic Youth, and more.
  • Black Dynamite (DIRECTOR Scott Sanders WRITERS Michael Jai White, Byron Minns, Scott Sanders PRODUCERS Jon Steingart, Jenny Weiner Steingart CAST Michael Jai White, Tommy Davidson, Arsenio Hall CAST Michael Jai White, Tommy Davidson, Arsenio Hall) - Decked out with afros, polyester and nunchucks, this badass ‘70s-style blaxploitation comedy stars Michael Jai White as a former CIA operative who uncovers a nefarious plot while avenging his brother’s death.
  • Soul Power (DIRECTOR Jeff Levy-Hinte PRODUCERS Leon Gast, Jeffrey Levy-Hinte, David Sonenberg CAST James Brown, Bill Withers, B.B. King, The Spinners, Celia Cruz and the Fania All-Stars, Muhammad Ali, Don King, Stewart Levine) - This blazing concert film documents Zaire '74, the sister event to the famed Ali/Foreman "Rumble in the Jungle," featuring previously unseen performances by James Brown, B.B. King, Bill Withers, Celia Cruz and others.



  • Crude Oil - China (DIRECTOR Wang Bing PRODUCERS Kong Lihong, Wang Bing) - An audacious undertaking for both filmmaker and audience, this film installation documents a workday at a remote Chinese oil field, from a stolen nap in a break room to the massive drills plunging into the earth. North American Premiere
  • Panda Diary - Japan (DIRECTOR Tadashi Môri PRODUCERS Shigeaki Yoshida, Hiromi Fuji, Keiko Hashimoto, Zhang Yun Hui) - In this family-friendly documentary, Shu Hin, a four-year-old panda, narrates her and her twin brother’s story as they move from a Japanese zoo to a panda reserve in China and make new panda friends. North American Premiere


BEHIND THE SCENES – Films with Extended Conversations:

  • Billy Jack (1971) (DIRECTOR T.C. Frank WRITERS Frank Christina, Teresa Christina PRODUCER Mary Rose Solti CAST Tom Laughlin, Delores Taylor, Clark Howat, Victor Izay, Julie Webb, Debbie Schock, Teresa Kelly, Lynn Baker, Stan Rice, David Roya, John McClure, Susan Foster, Susan Sosa) - Join writer/director Tom Laughlin for a special screening of this cult classic, in which he stars as a part Native American ex-Green Beret who defends a counterculture-friendly Freedom School against the ultra-conservative local townsfolk.
  • Midnight Cowboy (1969) (DIRECTOR John Schlesinger WRITER Waldo Salt PRODUCER Jerome Hellman CAST Dustin Hoffman, Jon Voight, Sylvia Milis, Brenda Vaccaro) - Forty years after its release, Midnight Cowboy has lost none of its audaciousness. Prior to the screening, Jon Voight will take the stage for an extended conversation about this landmark film.


L.A. FILM CRITICS: The Film That Got Away:

  • Música Nocturna - Argentina (DIRECTOR Rafael Filippelli WRITERS Rafael Filippelli, David Oubiña PRODUCER Nathalie Cabiron CAST Horacio Acosta, Silvia Arazi, Enrique Piñeyro) - Rafael Filippelli's lovely film, drenched in the atmosphere of Buenos Aires deep in the wee hours of the morning, observes the quietly building fissures in a marriage between a writer and a playwright.
  • The Silence Before Bach - Spain (DIRECTOR Pere Portabella WRITERS Pere Portabella, Xavier Albertí, Carles Santos PRODUCER Pere Portabella) - A blind piano tuner, a harmonica-playing truck driver and a tap-dancing horse are just three of the unlikely bedfellows in this dazzlingly original meditation on the great German composer and his influence across the centuries.
  • United Red Army - Japan (DIRECTOR Koji Wakamatsu WRITERS Koji Wakamatsu, Masayuki Kakegawa PRODUCER Muneko Ozaki CAST Maki Sakai, Arata, Akie Namiki, Go Jibiki) - A Japanese Che, this electrifying docudrama depicts the violent 1972 standoff between police and members of the eponymous student radical group detail by harrowing detail. Set to an original psychedelic rock score by Sonic Youth's Jim O'Rourke.           


HELL ON WHEELS: Hot Rods and Fast Times:

  • Hi-Riders (1978) (DIRECTOR/WRITER Greydon Clark PRODUCER Mike MacFarland CAST Mel Ferrer, Stephen McNally, Darby Hinton, Neville Brand, Ralph Meeker, Diane Peterson, Karen Fredrik, Roger Hampton, Brad Rearden) - New in town and sporting a sweet, souped-up ride, a sexy young couple races with the hard-partying local hot-rod gang, leading to a high-octane face-off with explosive consequences.
  • Hot Rod Girl (1956) (DIRECTOR Leslie H. Martinson WRITER John McGreevey PRODUCER Norman T. Herman CAST Lori Nelson, Chuck Connors, John Smith, Mark Andrews, Roxanne Arlen, Frank Gorshin, Fred Essler, Eddie Ryder, Carolyn Kearney, Del Erickson, Russell Thorson, Dabbs Greer) - Thrill-seeking teens in hot rods terrorize the quiet streets of '50s suburbia. Will a city-sponsored racetrack restore order to the streets, or simply push the pedal to the metal?
  • Hot Rods to Hell (1967) (DIRECTOR John Brahm WRITER Robert E. Kent PRODUCER Sam Katzman CAST Dana Andrews, Jeanne Crain, Mimsy Farmer, Laurie Mock, Paul Bertoya) - A middle-class American family moving across the country is terrorized by a band of teenaged hot-rod hellions on the desert highway. It's total war in overdrive.



  • Night Tide (1961) (DIRECTOR/WRITER Curtis Harrington PRODUCER Aram Kantarian CAST Dennis Hopper, Linda Lawson, Gavin Muir, Luana Anders, Marjorie Eaton, Marjorie Cameron, H.E. West, Tom Dillon, Ben Roseman) - A young Dennis Hopper stars in Curtis Harrington's haunting feature debut about a sailor who falls in love with a mysterious woman who believes she is a descendant of mythical Sirens.



  • Amreeka (DIRECTOR/WRITER Cherien Dabis PRODUCERS Christina Piovesan, Paul Barkin; CAST Nisreen Faour, Melkar Muallem, Hiam Abbas, Alia Shawkat) - Funny and poignant, Cherien Dabis' debut follows a plucky Palestinian single mom who emigrates from the West Bank to America for the sake of her teenage son, learning along the way that home transcends borders.
  • Crude Oil – See Special Screenings
  • Election (1999) (DIRECTOR Alexander Payne WRITERS Alexander Payne, Jim Taylor PRODUCERS Albert Berger, David Gale, Keith Samples, Ron Yerxa CAST Matthew Broderick, Reese Witherspoon, Chris Klein) - This wicked satire of high school politics pits an over-achieving student running for class president against a frustrated civics teacher determined to stop her rise to power.
  • Ghostbusters (1984) (DIRECTOR Ivan Reitman WRITERS Dan Aykroyd, Harold Ramis, Rick Moranis PRODUCER Ivan Reitman CAST Bill Murray, Dan Aykroyd, Sigourney Weaver, Harold Ramis, Rick Moranis, Annie Potts, William Atherton, Ernie Hudson) - “Who you gonna call?” If you’re looking for one of the funniest comedies of the Eighties featuring a classic Bill Murray performance, the answer is obvious. 
  • Hot Rod Girl – See Hell On Wheels
  • How I See It: Youth Filmmaking From Streets to Streams - Young filmmakers offer three unique takes on life in California, from Oakland's Cambodian-American community to the interaction between native and non-native youth in rural Siskiyou County to hard life choices in San Francisco's Bayview-Hunters Point.
  • The Muppet Movie (1979) (DIRECTOR James Frawley WRITERS Jack Burns, Jerry Juhl PRODUCER Jim Henson CAST Jim Henson, Frank Oz, Jerry Nelson, Richard Hunt, Dave Goelz, Charles Durning, Austin Pendleton) - Hit the road with Kermit, Fozzie, Ms. Piggy and all their friends in this beloved classic for all ages, bursting with cameos, comedy and fantastic songs like “The Rainbow Connection.”
  • Those Who Remain – See Documentary Competition



  • 2 Birds - Iceland (DIRECTOR Runar Runarsson)
  • 575 Castro St. (DIRECTOR Jenni Olson)
  • The Archive (DIRECTOR Sean Dunne)
  • Bill's Visitors - England (DIRECTOR Simon Deshon)
  • The Blindness of the Woods - Argentina (DIRECTORS Javier Lourenço, Martin Jalfen)
  • The Cable Car - Switzerland (DIRECTORS Claudius Gentinetta, Frank Braun)
  • Codswallop - England (DIRECTOR The Brothers McLeod)
  • Danse Macabre - Canada (DIRECTOR Pedro Pires)
  • Dropping Furniture - Austria (DIRECTORS Harald Hund, Paul Horn)
  • Every Day is Not the Same - Slovenia (DIRECTOR Martin Turk)
  • Everyday Everyday - Malaysia (DIRECTOR Tan Chui Mui)
  • Forbach - France (DIRECTOR Claire Burger)
  • The Herd - Ireland (DIRECTOR Ken Wardrop)
  • How I Met Your Father - Spain (DIRECTOR Alex Montoya)
  • I Live in the Woods (DIRECTOR Max Winston)
  • Instead of Abracadabra - Sweden (DIRECTOR Patrik Eklund)
  • Joy Ride: An Auto Theft (1976) (DIRECTOR William Crain)
  • L'Arbitro - Italy (DIRECTOR Paolo Zucca)
  • La Battue - Canada (DIRECTOR Guy Édoin)
  • Last Date (1950) (DIRECTOR Lewis D. Collins)
  • Lessons From the Night - Australia (DIRECTOR Adrian Francis)
  • Love You More - England (DIRECTOR Sam Taylor-Wood)
  • A Mate - Finland (DIRECTOR Teemu Nikki)
  • Next Floor - Canada (DIRECTOR Denis Villeneuve)
  • PAL/SECAM - Russia/USA (DIRECTOR Dmitry Povolotsky)
  • Photograph of Jesus - England (DIRECTOR Laurie Hill)
  • Pockets - England (DIRECTOR James Lees)
  • Rains (L'ondée) - Canada (DIRECTOR David Coquard-Dassault)
  • Replayground (DIRECTOR Anna Gaskell)
  • The Royal Nightmare (DIRECTOR Alex Budovsky)
  • Sister Wife (DIRECTOR Jill Orschel)
  • Skhizein - France (DIRECTOR Jérémy Clapin)
  • Stand Up - England (DIRECTOR Joseph Pierce)
  • Steel Homes - Scotland (DIRECTOR Eva Weber
  • Summer Breaks - Australia (DIRECTOR Sean Kruck)
  • Ten for Grandpa - Canada/USA (DIRECTOR Doug Karr)
  • Thompson (DIRECTOR Jason Tippet)
  • Time and Again (DIRECTOR Antonio Mendez Esparza)
  • Tomorrow’s Drivers   (1954)
  • Top Girl - England (DIRECTOR Rebecca Johnson)
  • The Transformation of Genesis P-Orridge - The Netherlands/USA (DIRECTORS Eline Jongsma, Kel O'Neill)
  • Trece Años - Cuba/ USA (DIRECTOR Topaz Adizes)
  • Utopia, Part 3: The World's Largest Shopping Mall (DIRECTORS Sam Green, Carrie Lozano)
  • Western Spaghetti (DIRECTOR PES)
  • Zietek - Poland (DIRECTOR Bartosz Blaschke)



  • Almost (DIRECTOR Lori Dinsmore)
  • Arterial Deposition in Thought and Being (DIRECTOR Mason Shefa)
  • Bon Voyage (DIRECTOR Allyssa Kaiser)
  • Change the Nation (DIRECTORS Jessica Gonzalez, Krista Kim, Brian McArthur, Elliot McGreggor & Ruben Palomares)
  • Cookie Cutter (DIRECTOR Maggie Smith)
  • Cue The Coup (DIRECTOR Woodrow White)
  • Divine Intervention (DIRECTORS Reid Hildebrand, David Griffin)
  • First Kiss (DIRECTOR Janey Miles Feingold)
  • Fletcher (DIRECTOR Daniel Lipson, James Perkins) 
  • A Flying Project (DIRECTOR Bryan Navarro)
  • Forget Me Not (DIRECTOR Mirabelle Korn)
  • Hill Soda (DIRECTOR Suzanne Walsh)
  • Homophobia is Gay (DIRECTOR Tiffany Maria Flick)
  • I have a dream today. (DIRECTOR Hannah Holtgeerts)
  • It Only Takes One (DIRECTOR Gabe Benjamin & Nick Lieberman)
  • In Unexpected Places (DIRECTOR Mel Guel)
  • Killers of the Earth (DIRECTOR Jeff Bruno)
  • Ladies in Armor (DIRECTOR Sami Kubo)
  • Ladies, Please (DIRECTOR Xochi Maberry-Gaulke)
  • Lipstick (DIRECTOR Sam Rubin)
  • M.O.D. – moment of decision (DIRECTORS Bianca Mia Alvarez, Edgar Andres, Berenice Bautista, Najee Clark, Elijah Douresseau, Yaddi Garcia, Markus Hobbs, Desmond Johnson, Lemias Paige & Gerica Preston)
  • Marcul City (DIRECTOR Abram Pineda-Fischer)
  • National Day Without a Bag (DIRECTOR Samantha Speiser)
  • Napua Ilima O’Kehaulani  (DIRECTOR Ryan Medel)
  • Only One (DIRECTOR Conor Arnodo)
  • Our Dignity (Nuestra Dignidad) (DIRECTOR Kathy Vega-Munoz)
  • Portrait: Anais Kane (DIRECTOR Jazmin Jones & Sydney Matterson)
  • Reality Check (DIRECTOR Matthew Prescott)
  • Repercussion of the Masses (DIRECTOR Brian Reves)
  • Return To Sender (DIRECTORS Sarah Bailin & Emma Bailin)
  • Untouchable    (DIRECTORS Justin Levine, Jack Heston)
  • We Got Dreams (DIRECTOR Ricky Hermosillo)
  • You’re In Control! (DIRECTOR Maria Midtlyng)



    Eclectic Mix 1 & 2

  • 21st Century Life: Sam Sparro (DIRECTOR Mariah Garnett)
  • Going On: Gnarls Barkley (DIRECTOR Wendy Morgan)
  • Her Morning Elegance: Oren Lavie (DIRECTORS Oren Lavie, Yuval & Merav Nathan)
  • Dance With Me: Old 97's (DIRECTOR Keven McAlester)
  • Electric Feel: MGMT (DIRECTOR Ray Tintori)
  • Everybody Wants Me: The Pigeon Detectives (DIRECTOR David Mullett)
  • Fortress: Pinback (DIRECTOR Elliot Jokelson)
  • Golden Age: TV on the Radio (DIRECTOR Petro)
  • Grapevine Fires: Death Cab for Cutie (DIRECTOR Walter Robot)
  • Hang Them All: Tapes 'n Tapes (DIRECTOR Jonnie Ross)
  • Happy Up Here: Royksopp (DIRECTORS Reuben Sutherland & Joyrider)
  • Haven't Been Yourself: Seventeen Evergreen   (DIRECTOR Encyclopedia Pictura)
  • Honey Honey: Feist (DIRECTOR Anthony Seck)
  • Impatience: We Are Scientists (DIRECTOR Chris Bran)
  • In My Eyes: Pistol Youth (DIRECTOR Isaac Rentz)
  • Jesus Saves, I Spend: St. Vincent (DIRECTORS Andy Bruntel & Bucky Fukumoto)
  • L.E.S. Artistes: Santogold (DIRECTOR Nima Nourizadeh)
  • Lights: Lyapis Trubetskoy (DIRECTOR Alexey Terexov)
  • Little Motel: Modest Mouse (DIRECTOR Justin Francis)
  • LoP: SOCADIA (DIRECTOR Andrea Giacomini)
  • Nth Degree: Morningwood (DIRECTOR Adam Neustadter)
  • Mykonos: Fleet Foxes (DIRECTOR Sean Pecknold)
  • Oh My: Office (DIRECTOR Adam Neustadter)
  • Restless: Langhorne Slim (DIRECTOR Joey Garfield)
  • Ruler of Everything: Tally Hall (DIRECTOR Sean Donnelly)
  • Shake Shake Shake: White Denim (DIRECTOR Tom Haines)
  • Sideways Ponytail: Natalie Portman's Shaved Head (DIRECTOR That Go)
  • Signs: Bloc Party (DIRECTOR Hiro Murai)
  • Soon We’ll Be Found: Sia (DIRECTOR Claire Carre)
  • Stress: Justice (DIRECTOR Romain Gavras)
  • Talk To Me: Peaches (DIRECTOR Price James)
  • Sugarbaby: Morningwood (DIRECTOR Adam Neustadter)
  • Under the Pines: Bodies of Water (DIRECTOR Andy Bruntel)
  • Wanderlust: Bjork (DIRECTOR Encyclopedia Pictura)
  • Welcome to Heartbreak: Kanye West feat. Kid Cudi (DIRECTOR Nabil)
  • Who's Gonna Save My Soul: Gnarls Barkley (DIRECTOR Chris Milk)
  • Work It Out: RJD2 (DIRECTOR Joey Garfield)
  • Wrong: Depeche Mode (DIRECTOR Patrick Daughters)

    Where It Was At: A Propaganda & Satellite Films Tribute

  • Closer: Nine Inch Nails (DIRECTOR Mark Romanek)
  • Devil’s Haircut : Beck (DIRECTOR Mark Romanek)
  • Drive: R.E.M. (DIRECTOR Peter Care)
  • Drop: The Pharcyde (DIRECTOR Spike Jonze)
  • Express Yourself: Madonna (DIRECTOR David Fincher)
  • Frontier Psychiatrist: The Avalanches (DIRECTORS Kuntz & Maguire)
  • Home: Iggy Pop (DIRECTOR David Fincher)
  • I Can't Wait: Mirwais (DIRECTOR Stephane Sednaoui)
  • If: Janet Jackson (DIRECTOR Dominic Sena)
  • It's Oh So Quiet: Bjork (DIRECTOR Spike Jonze)
  • Pumpkin: Tricky (DIRECTOR Stephane Sednaoui)
  • Push It: Garbage (DIRECTOR Andrea Giacobbe)
  • Rhythm Nation: Janet Jackson (DIRECTOR Dominic Sena)
  • Virtual Insanity: Jamiroquai (DIRECTOR Jonathan Glazer)
  • Welcome to the Jungle: Guns N' Roses (DIRECTOR Nigel Dick)
  • Where It's At: Beck (DIRECTOR Steve Hanft)