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It’s hard for teenagers to find cool movies.

Why?

Film is not a reliable medium for influencing people or making money. You can’t tell, by watching a film, how popular it will be, how deeply it will affect people. Hollywood tries to assess this everyday, film critics think they know, but no one is consistently right. Count clicks and comments and you still won’t have the right answer. Films are ephemera. They are wisps that may condense into clouds or may evaporate. They are only probabilities multiplied by uncertainties. So all filmmaking, even the biggest budget Hollywood filmmaking, is experimental. Hollywood has lots of help from it’s media relatives. So it’s wisp is fogged and seeded and blown toward other wisps. But these heavy storm clouds of Hollywood, with flash and bluster, often blow over and are instantly forgotten. Whereas a tiny breath of fresh air from an anonymous filmmaker far away can clear the head and orient a person in a new direction. The conundrum of the Independent Filmmaker is to create a cloud in the desert.

One cloud to block out the sun for one minute, and everyone looks up, and the Independent filmmaker is happy, can rest because the work has been seen and has gotten people to do something.

Teenagers inhabit temperate climes where food is readily available to fuel their growing bones.

2. If today we are “here” describe “awesome”, what is the most ideal digital filmmaking utopia in your mind?

HERE:
All distribution schemes are basically scams. In the old days it was a monopoly, the studios owned the artists and the cinemas and everything in between. It was a feudal system with a few people benefiting from the collective effort, and enough leftovers for everyone to eat. Now, no one wants to own anything; because the product is not inherently valuable—it’s the marketing and promotion that is valuable. Most of the work to generate interest and awareness in a film is done by the artist. So the only difference between the feudal days and these informed days, is that we all know what’s going on.

AWESOME:
The environment is wet. Filmmaking is a practice, like cooking, that some people perform at great levels of intricacy, that everyone understands and can evaluate. Everyone supports the art they like and the people they believe in. Hip hop became an international phenomenon after starting as a grass-roots movement of musicians selling their music directly to their peers and fans. So too with the new digital art. Wet with possibilities. Everyone shoots. Surveillance cameras are taken down and thrown away. The opinion piece and the ‘how to’ are the most prevalent forms of film. Everyone has basic medical training in middle school. People have finally relaxed about their bodies. There’s enough to go around and the greed model of industry and the fear model of government have both collapsed. Curiosity, ‘what the hell are we doing here and how can we make the most of it?,’ reigns. For every 100 people paid to think one or two will come up with an idea that pays for all the rest. (This idea is a paraphrase of Buckminster Fuller’s idea.) Teachers are paid more than bankers and libraries are open all night. A homeless man is chairman of the FED.

3. What was the experience like of being one of the Pioneer From Here to Awesome Filmmakers?

I’m not sure whether to be an activist or a student, to do my homework or to change the assignment. For example, we Awesome filmmakers were offered the opportunity to campaign for a music discovery platform, a subsidiary of AOL. For every person who signed up to the service through our special link, we received $4. It sounds great but if you don’t endorse the service, it’s hard to ask your fans to do this, even thought it ‘costs’ them nothing. Spam is that unwanted mail, that request to do something that wastes a person’s time and attention. And it’s sad to turn fans toward this sort of nonsense. More and more internet schemes are offering these kinds of promotions and motivational contests. “Make a film for us,” they say. “We aren’t obligated to credit you and we have the right to use your film in any way we want, wherever we want, forever. Isn’t the exposure valuable enough to you?” (These are the terms of a recent phone film contest I was asked to participate in.) But ‘free’ exposure that increases someone else’s sales without increasing yours is exploitation. And there’s a nontransferable quality to exposure. A million views on youtube is a million views. But who viewed? Only youtube knows. And two months later what can you do with these views? Other things may happen, MTV may have viewed and offer you a gig, or fans may view and sneak back to your website to buy something from you. That people’s interest in your project only registers in the analysis of comments, spread, and views.

You have an audience. What can you get them to do? How high will they jump? This is the kind of experiment I like performing in public, and on stage, and with friends. “Dress me up, Tell me what to do,” is the title of a recent series of videos I made where strangers (mostly) picked outfits for me from a bag of donated things and ordered me around. So why be averse to doing it online?

If we can shape From Here to Awesome into a bowl for the mixing of audiences then we may have arrived at our aim and accomplished something magical–like JayZ and Beyonce getting married.

4. If you had the attention of the entire film industry right now, what would you tell them?

Support the competition, we’re all in this together. Share the spotlight. (And take the password protection off your wireless. Come on, it should all be free anyway. Taxpayer money put all the wireless nodes and copper cables down in the first place. By password protecting you’re not speeding up your connection, you’re just helping to scam people like yourself out of hard-earned money.)

5. What would you say to other filmmakers considering being a part of future renditions of From Here to Awesome?

Be an activist. Or do the Awesome homework. Or find your own way to make and share your films. I do some of all three.

If you want to be part of From Here to Awesome right now, I’ll let you join in on my curriculum. I’ll give you my assignments to follow with me.

6. Describe your next project and whether your involvement with From Here to Awesome or DIY DAYS has informed anything about how you’ll proceed in the future.

HOW TO FIGHT N WIN is an album of “foreign language action films” that have a video game flavor. I’m releasing it along with a book, HOW TO LIVE THE GOOD LIFE, and a new collection of TO THE HILLS short films. See www.tothehills.com for details.

Since joining From Here to Awesome I’ve analyzed the ethics of what I do. It’s a similar moment to when I was arrested for selling my films on the streets of New York. Was I really do something wrong? No. Standing on the first amendment you can sell your free speech (books, movies, etc.) on any street in the United States. There are many local statues against this practice but these are not constitutional. Am I doing anything wrong to ask my audience to vote for me or to comment on my video or to repost me around the internet? Won’t they think of this anyway if they really like the film? I prefer to play with people than to tell them what to do, so this has been counterintuitive to me. Which approach is more effective? Is the method the message?

The great service that From Here to Awesome can provide is data, data from all the various sponsors that have attached their names to this Awesome ride from YOUTUBE to HULU to MYSPACE to TUBEMOGUL to INDIEGOGO and go and go. Data may help a person make a more calculating choice. Data about how many fans buy. There are many theories and relatively few and dispersed numbers on which to test them. In the absence of data I go on gut.

I’ve thought much more thoroughly about our society and whether my actions are making the world a better place or not. For our generation there is no selling out, there is only the question of how much you made, what was the price you garnered. But now the internet is here, and free! (Not really, but give everyone a computer and a connection, or a library card to a library that’s open all night.) So why sell out when you can give out, and up and away and share and dare. Money will come to those who make great art. Or money will come to those who imagine it coming. The secret. Right?

I do many more live events now. I’m interested in people in the flesh. I no longer think that the Internet will solve all my problems, just as I no longer think the answer to the problem of living in Bush’s America is solved by a visit to another country. From Here to Awesome doesn’t have the answers but it’s part of the experiment and it will be as awesome as we make it. That’s true of America too. Remember to vote, it might be counted this time.

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To my mind, the biggest problem (as a filmmaker and cinephlie) is that the system is set up in such a way that audiences don’t have TRUE choices for content. The system favors the safe and familiar and “what’s worked before”. I wonder how many cutting edge, iconoclastic filmmakers have been passed over in recent decades because some suit couldn’t reduce their work to “it’s like RoboCop meets Pretty Woman”? I’d like to see this flipped on its head so that audiences have a portal through which they can access a vast array of content on demand and pull it toward them, rather than having distributors push selected content at them. This portal would navigate though a variety of methods including searches, intelligent recommendations, keyword tagging and metadata, and good old word of mouth through a social network that would also allow fans to interact and communicate with filmmakers thru live and recorded video as well as text-based discussion. For the suits reading this, “its like DirecTV meets Amazon VOD meets iTunes Store meets Facebook meets Google meets Video iChat meets Coppola’s Little Fat Girl all packaged into a 60? HD television with webcam, harddrive, and broadband built-in”.

If today we are “Here” and our goal is to get to “Awesome”, i think we are right on the brink of the next “ipod moment” — a moment that changes the way content finds its audience. today’s independent filmmaker is moving closer to what we at Sabi Pictures call the interdependent filmmaker — one who embraces the value of community-based solutions for everything from education and production needs to sharing your audience with like-minded artists. my vision of “awesome” is a universal framework that supports the artist and his or her audience cyclicly. allowing the filmmaker to retain ownership of his or her work is paramount to the evolving models of distribution and I believe that Arin Crumley’s idea for a universal distribution agreement is a brilliant concept for defining a new relationship between filmmakers and outlets. the technology is such that the only thing holding back the low budget (yet equally skilled, compelling and entertaining) filmmaker from monetizing their efforts is an audience equipped with the tools to find them.

Being a part of the first wave of the FHTA project has been a massive awakening and education in terms of elevating my understanding of what can be done with a motion picture once it’s locked and ready for the world. It has emboldened me to truly take ownership of my films, to give myself permission to fail, to assert and define my place in the film world, to brave the ever-evolving models of self-distribution and to have courage in rejecting the conventional route toward distribution for independents such as myself.

the distribution opportunities provided by FHTA were not an end result in and of themselves. they were a door that opened to a whole new journey. I learned to pursue these opportunities with vigilance, to build upon them and to let them inspire new ideas for building an audience. if you’re not pushing your filmmaking forward in some manner every single day, then you’d better go out and hire a great publicist (and a team of interns) to do it for you. that, or turn in your indie credentials right now. haha!

I received a vast “DIY” education from Lance Weiler and Arin Crumley. I now understand how to build and sustain an audience and the importance of creating a framework for the filmmaker to interact and make himself or herself available to the people drawn to the work. I now know the value of transparency and the importance of giving myself permission to fail as I experiment with the newly emerging distribution models. I now know that I’m not alone in wanting to change the status quo by retaining ownership of my work and I know it will happen for us soon. It is only a matter of time, planning and effort.

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FHTA page
Official site

1. What is currently wrong with the film industry from your point of view
as a DIY filmmaker? Not enough money to experiment with films that are outside the box. A lot of indies are now done by guys who have been in the business for years and they bring in the names and the resources to their projects. For people who have no connections in Hollywood, the point of entry is pretty non-existent. You have to force your own entry way with a high risk gamble. The competition is fierce and the industry is not as welcoming to the guerrilla dreamers.

2. If today we are “here” describe “awesome”, what is the most ideal digital filmmaking utopia in your mind?
Awesome would be a world where a lot more money would be given to undiscovered talent to develop their movies. As it is now, there isn’t a lot to go around. The only option now is to work hard, risk everything, and hope someone important sees you. More venues and more exposure are the key to the future.

3. What was the experience like of being one of the Pioneer From Here to Awesome Filmmakers?
Pretty cool. I think it’s where indie film makers need to go to. More web and more guerrilla. Build an audience with the Internet.

4. If you had the attention of the entire film industry right now, what would you tell them?
Scout for new talent and give some chances to the new guy.

5. What would you say to other filmmakers considering being a part of future renditions of From Here to Awesome?
Embrace it and work hard at it. It pays off if you put effort into it.

6. Describe your next project and whether your involvement with From Here to Awesome or DIY DAYS has informed anything about how you’ll proceed in the future?
Not sure what’s next but I have learned a lot with From Here to Awesome. Embed, spread, etc. There are a lot of avenues to get your movie out there and FHTA helped me find those avenues.

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FTHA Film Page
Official Site

What is currently wrong with the film industry from your point of view as a DIY filmmaker?
The biggest problem with the film industry today is the lack of diversity of films promoted in the mainstream. If I owned a film studio, my biggest priority would be to distribute diverse content for a multitude of audiences as opposed to general “safe bet” films that turn a guaranteed, but in many cases, small profit. I just think Hollywood has forgotten how to take a chance on a film, whether it be small or big, and because of that there is a severe lack of variety and quality films available in the mainstream.

If today we are “here” describe “awesome”, what is the most ideal digital filmmaking utopia in your mind?
The most ideal filmmaking utopia is what I call Film 2.0 or the digital revolution actually coming to fruition. I think there will be a major shift in the way that film based content is created and distributed and that control will rest both in creators and the audience and opposed to a 3rd party. I also think that the “independent film movement” will eventually realize how to pool their resources and share their content, so it’s easier to access independent content without hassle. Projects like Workbook project are a perfect example of us heading towards more awesome.

What was the experience like of being one of the Pioneer From Here to Awesome Filmmakers?
The experience of being part of the inaugural From Here to Awesome has been nothing short of awesome. The tools and information have been priceless in terms of expanding into new audiences. I am humbled by the concept and think it’s a step in the right direction for the future of filmmaking and media distribution.

If you had the attention of the entire film industry right now, what would you tell them?
Make more movies. Take more chances.

What would you say to other filmmakers considering being a part of future renditions of From Here to Awesome?
The better prepared you are before applying to FH2A the better. Get your website, blog, pictures and videos ready, so that when you launch your FH2A page, you can fully take advantage of the amazing opportunities presented. Also, think about different methods of promoting your film once chosen. Again, the more you have prepared to market the better off you will be.

Describe your next project and whether your involvement with From Here to Awesome or DIY DAYS has informed anything about how you’ll proceed in the future.
My new project is a feature film based on the short film chosen for FH2A entitled “Sleeping Demon”. Ai is a character within a larger dramatic framework. I have had tremendous insight into how I will pre-pro my features because of DIY Days and FH2A. I will prepare to market and distribute my film, even before I’ve begun production of the film, that’s the biggest lesson I’ve learned. It’s all about thinking about your film and the audiences you want to reach as part of pre-production, before the film process even begins. It will not only empower and challenge the filmmaker in creative ways, but it will tremendously help the lifespan of the film and your career as a filmmaker.

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Meditate and Destroy is a feature documentary focusing on bestselling author of Dharma Punx and Against the Stream, Noah Levine. Tattoos, motorcycles, and an engaging punk rock soundtrack are featured in this hard-hitting look at how Buddhism has a place in the world of punks. We are currently holding community and festival screenings around the world. Our DVD will be released in early 2009.

FHTA film page
Official Site

What is currently wrong with the film industry from your point of view as a DIY filmmaker?

The film industry doesn’t currently foster exposure or ease of distribution for independent filmmakers. There are too many hoops to jump through to get your film distributed widely. While the production process has become democratized, theatrical distribution remains in the hands of a few gatekeepers. The film festival system is broken and a sham. Festivals promote themselves as supporting filmmakers, but this is a big myth. Film festival committees operate in a very politicalized way that neither brings income to filmmakers and doesn’t provide ease of discovery. It’s fiercely competitive to get in to festivals and if you’re lucky enough to get in– entering a state of prostitution begins.

If today we are “here” describe “awesome”, what is the most ideal digital filmmaking utopia in your mind?

The most ideal utopia would be a system that broaden the channels of distribution (both online and theatrical) so that independent voices can be discovered and simultaneously filmmakers will manage to monetarily sustain themselves. Film festivals should help filmmakers sustain themselves and not leave the fate of films to a lottery system. . Filmmakers have a better chance getting into an Ivy League school than they do having a film accepted into one of the “Top Tier” festivals. A system that doesn’t rely on the choices of a few film festival committee members who cater to Indywood companies would be revolutionary. I look forward to this day.

What was the experience like of being one of the Pioneer From Here to Awesome Filmmakers?

What’s great about From Here to Awesome is the opportunity to be a part of a collective of filmmakers who are all supporting one another. We are like the underground railroad of filmmakers- the rest of the industry has said they don’t want us but we will not be shut out. We are all empowering one another to take the great leap forward into the unknown- on the route of successful distribution (where most filmmakers hesitate to go). From Here to Awesome festival is innovative in bringing digital distribution and alternative theatrical screening opportunities to filmmakers simultaneously.

FHTA has a great vision to change the film industry. I think like any alternative system, it will take time to successfully operate in a reverse scenario from the current film industry. In five years from now, I expect the rest of the industry will be taking notice and looking at how they can follow in the FHTA footsteps.

If you had the attention of the entire film industry right now, what would you tell them?

I don’t want the attention of the whole film industry nor do I have anything to say. I think it’s pointless to speak someone who doesn’t understand your language. I think it’s exciting to be on the fringe, off in the shadows. This where excitement and provocative things happen. Sorry to anyone who’s missing out. I love being marginalized- I embrace it!

What would you say to other filmmakers considering being a part of future renditions of From Here to Awesome?

Do it and don’t hesitate. The only thing you have to lose is your misguided way of thinking that the film industry is going to do something for you because you made a film. Reverse your thinking and go From Here to Awesome.

Describe your next project and whether your involvement with From Here to Awesome or DIY DAYS has informed anything about how you’ll proceed in the future.

I have no big projects other than fulfilling my dream of seeing Meditate and Destroy reach it’s highest potential. We are bringing the film to communities around the world for the rest of this year which is really exciting. DIY Days has inspired me greatly. I will proceed with a lot more knowledge on self-distribution and building an audience on my next project. I will employ the strategies I’ve learned as soon as possible after the film is done.

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Those in the Boston area are cordially invited to attend a free screening of selected films from the From Here to Awesome film festival.

* 7:00 P.M., Friday, October 3, 2008
* Tower Auditorium, Massachusetts College of Art and Design
* 621 Huntington Avenue, Boston (Directions)
* Easy T access via Green E line (Longwood Stop) or 39 Bus
* For driving and parking directions, see note at the end of this post
* The screening is free and open to the public

This takes place on the eve of DIY DAYS Boston (the conference is also free, however, registration is required to attend the conference, but not the Friday night screening).

Screening Lineup for the Evening will be:

Smile Boston Project (2007, David Tames, 20 min.) In the summer of 2003 Bren Bataclan began leaving paintings of his colorful characters in public places with a note attached that says, “This painting is yours to keep if you promise to smile at random people more often.” The film examines the artists influences, his goals, and the reactions of people who have found, purchased, and critiqued his paintings.

Ring of Blood (2008, Javier Prato, 4 min.)
A mercenary hired by the Asian mafia to steal a diamond ring worth millions of dollars decides to go against them and keep it for himself. Starring Davis Choh as the unruled mercenary and Viktor Murakami as the villain. It’s only a matter of time to see who finally gets that precious ring.

Book of Caleb (2008, Matthew Von Manahan, 108 min.) Twenty-something Caleb Callahan, a crusader without a cause, ventures back to his homeland of suburbia where he reunites with his childhood companions: a mastermind serial prankster and a trusty sidekick. After one of their prank has consequences, Caleb is forced to be the hero, save his friends, and give his life direction.

Driving/Parking information
The best way to get to MassArt is via the T, however, if you need to drive, free parking will be available for screening attendees in the MassArt Ward Street lot on a first-come basis if you enter the lot between 6:00 P.M. and 7:00 P.M. on the night of the screening. Here are the details:

* If you’re traveling west on Huntington Avenue: as you pass the main campus on your right, take a left at the light onto Longwood Avenue, crossing over the trolley tracks. Go straight to the stop sign and turn left, then immediately turn right onto Ward Street. MassArt’s parking lot is short distance ahead on the left. This is pretty clear if you take a look at the Google Map.
* If you’re traveling east on Huntington Avenue: take a right at the light onto Longwood Avenue, then a quick left and right and you’re on Ward Street. MassArt’s parking lot is short distance ahead on the left. This is pretty clear if you take a look at the Google Map.

This screening is made possible by the generosity of MassArt Professional and Continuing Education, DIY DAYS, and From Here to Awesome.

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BOSTON
On Oct 3rd and 4th FHTA and DIY DAYS will be staging events in Boston. If you happen to live in the Boston area and want to lend a hand or help spread the word please let drop us a line at info [@] fromheretoawesome dot com

Book of Caleb directed by Matthew Von Manahan, Ring of Blood directed by Javier Prato, and a special Boston premiere of Boston Smile Project directed by David Tames will be screening on Oct 3rd.

Here are the full details.

SPECIAL SCREENING of FROM HERE TO AWESOME FILMS
Friday, October 3, 2008
Tower Auditorium
Massachusetts College of Art and Design
621 Huntington Avenue, Boston
Directions Link: http://massart.edu/x474.xml
7pm to 9:30pm

DIY DAYS CONFERENCE
FREE DAY of Workshops, Panels and Roundtable discussions
Saturday, October 4, 2008
Trustees Room, 11th Floor Tower Building
Massachusetts College of Art and Design
621 Huntington Avenue, Boston
Directions Link:: http://massart.edu/x474.xml
10am to 6:30pm

For more info visit www.diydays.com

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In the spirit of DIY, FHTA filmmakers are setting up their own screenings with other films from the festival. Here is a video from RING OF BLOOD filmmaker Javier Prato. He’s traveling the country and staging screenings of FHTA short films.

If you’re interested in providing a venue for FHTA films or would like to tell us about a venue that you think would be a good fit, we’d love to hear from you. info [at] fromheretoawesome dot com

IN OTHER NEWS

FHTA films will be hitting Joost and Amazon in the next week or so.

We’re working on setting up a special screening in Boston that will kick off the DIY DAYS event in October.

Finally, we are close to announcing which FHTA films will be headed to London all expenses paid.

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The fate of 12 feature films rests in your hands.

Friday August 15th in San Francisco - 3 feature films will screen at Mint Plaza and the Mezzanine located at 444 Jessie Street.




YOU’RE THE FESTIVAL PROGRAMMER - you decide what shows that night. To cast your selections click HERE then watch, comment, rate and favorite the films that you feel should screen. The event is FREE click HERE to secure tickets.


FHTA invades San Francisco - Screenings and DIY DAYS

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