Hey Folks

Current TV, From Here to Awesome and the Workbook Project are doing a FREE event on July 26th in Los Angeles that you should attend if you’re in town.

DIY DAYS
How do we sustain ourselves as filmmakers and storytellers in this day of shifting film distribution systems? How do we monetize our film and get the word out? Presented by From Here to Awesome the Workbook Project and Current TV - DIY DAYS aims to answer these questions with a day of panels, roundtable discussions and workshops: A look at how to fund, create, distribute and sustain.

Proposed Discussion Topics
- New Forms of Storytelling
- New models of Finance, Production and Distribution
- Audience Building & The Audience Becoming Collaborators
- War Stories: “What’s The Real Deal?”
- Self-Sustaining: what to know when trying to make a living from your art
- Case Studies (Arin Crumley, Lance Weiler, M dot Strange and others discuss the making and
distribution of their work)

Open Discussion Topics
- What are you working on? What are you looking for?
- How do you consume your media?
- What needs to change in order for you to sustain?

We’ve lined up a diverse group of speakers from all sides of the industry.

Speaker List
Robert Greenwald - Outfoxed, Wallmart the High Cost of Low Price, Iraq for Sale
Tommy Pallotta - producer of A Scanner Darkly and Waking Life
Mark Pellington - director of Henry Poole is Here, Arlington Road and Mothman Prophecies
Marshall Herskovitz - Blood Diamond, Quarterlife
Lance Weiler - The Last Broadcast, Head Trauma
Arin Crumley - Four Eyed Monsters
M dot Strange - We Are the Strange
Ondi Timoner - DiG, Join US, We Live in Public
Saskia Wilson-Brown - Current TV
Micki Krimmel - expert in social media and online community
Jon Reiss - Bomb It
Alex Johnson - digital media strategist / filmmaker
Christy Dena - cross-media strategist and designer
Matt Hanson - filmmaker and founder of A Swarm of Angels
Timo Vuorensola - director of Space Wreck and co-founder of wreckamovie.com

More info at diydays.com

John August, director of The Nines and also a screenwriter with a great blog, has written a really candid, useful post, partly in response to Mark Gill’s comments, about what he learned about distribution after his experiences with The Nines. Read his take on indiefreude and why acceptance to Sundance does not mean that you’ve made it and there’s money in the bank. He also makes the important point that there is much success to be found in Gill’s 99.9% failure rate for indie films:

We need to ask, “Failure for whom?” Even a movie that doesn’t earn its budget back will likely make money for its distributors, once you factor in video and TV sales. More crucially, a good indie film generates future work for its stars and filmmakers. So there’s a lot of success to be found in that 99.9% failure.

He finishes with this:

My advice? You should make an indie film to make a film. Period. Artistic and commercial success don’t correlate well, and at the moment, only the former is remotely within your control.

If I had to do it all over again, I would have made the same movie but completely rethought how it went out into the world. I would have challenged a lot of the standard operating procedures, which seem to be part of an indie world that no longer exists. The Nines would have likely made just as little at the box office, but could have made a bigger impact on a bigger audience. Ultimately, I think that’s how you need to measure the success of an indie film’s release: how many people saw it.