Joe Swanberg exemplifies a sense of what it means to be part of the filmmaking community.
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Ted Hope, indie producing legend and former head of the San Francisco Film
Society, has some surprising news.
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A recent comment by James Gray reveals how indie and commercial cinema have in effect switched places.
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The public conversation around their films is the one part of the process most filmmakers don't touch. Here's why they should.
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With financing for one's films so contingent upon the brand a filmmaker cultivates for themselves, it's important to consider one's body of work carefully.
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What 'Nymphomaniac' indicates might be a future type of storytelling.
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If VOD really is the next big thing, theater chains will have to accept it. Here's a way they just might.
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Joseph Gordon-Levitt's 'Don Jon' points a way toward a new kind of distribution strategy for studios.
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As Netflix announces its move into original cinema, indie filmmakers will see a new window of opportunity.
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No subplots. No supporting characters. How two of this fall's most critically-lauded films take full advantage of their limited storytelling time - and why you'll be seeing more tightly-focused films like this in the future.
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A pioneering literary press from Ohio is developing a micro-budget cinema slate. Soon, more purveyors of high-quality content will be getting into the film game.
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We all know that TV is often viewed with a second screen out at the same time. Are movies next?
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No one will deny that Breaking Bad will be a culturally relevant show for a long time to come. How will its distinct mode of storytelling affect cinema?
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There are hundreds of indie films made and distributed every year. But one kind of film has been performing particularly well lately. Will filmmakers follow the obvious demand for intelligent films for adults?
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Many independent filmmakers are under the illusion that you "start commercial," then become more artistic as time goes on. They couldn't be further from the truth.
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With high-resolution cameras becoming increasingly cheaper, the moment when Hollywood and micro-budget films use the same camera is fast approaching. What happens then?
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"Dance with the one you came with" is good advice not just for dances, but for art as well. Here are two examples from this week.
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Many people are saying that micro-budget features are the new shorts. They're wrong.
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The unremarked-upon connection between filmmaking and film criticism deserves some consideration.
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As Hollywood increasingly emphasizes blockbuster releases, more and more of the studios' slates may become filled with independent fare that straddles the border between artistic and commercial.
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Shane Carruth's 'Upstream Color' is a great example of a director who made exactly the type of film he wanted through shrewd distribution and marketing choices. In this landscape, is a tiny niche all a filmmaker needs?
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Can a filmmaker cut out enough middlemen to sell movie tickets exclusively to backers?
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Everyone's freaking out after Steven Spielberg and George Lucas announced that the filmmaking biz is is facing an "implosion." But what if that's a good thing? Here's who might benefit from the latest entertainment industry collapse and how.
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