Guest Post: Hadrian Belove: "all great directors must sacrifice some aspect of filmmaking to achieve something brilliant"

Today's guest post is from LA's CineFamily's very own Hadrian Belove. Hadrian & CineFamily made my list of Brave Thinkers 2010 for their brilliant programming. If you live in LA and you are not a member of CineFamily, I don't believe you love cinema. Or maybe you have yet to prove it. Well here's your chance. Not only does Hadrian & Co. love cinema, show fantastic programming, they also write well about it. Passionately too. Hadrian's post comes from Cinefamily's newsletter. He does a pretty damn good job at showing why you want to attend their series this month on John Cassavetes.

I want to talk with you about John Cassavetes for a moment.

In preparation for our month-long retrospective, I’ve been steeping myself in the subject of Cassavetes: reading interviews and biographies, watching documentaries, and most of all, viewing his films. Like many a film lover before me, I’m going down the rabbit hole, because the more deeply you go down, the more rewarding it is. And I’m having a blast. In fact, it’s only by doing this that I’m just now I’m realizing what we’ve done here at Cinefamily, and why I think you should really participate this month: this retrospective is a kind of “master class” in the work of one of America's most fascinating directors.

To start with, I think Cassavetes himself would appreciate my honesty when I say I’ve always had mixed feelings about his work before now; there are scenes and moments that destroy me (in a good way), and other moments that feel false, bombastic, or just seemed sloppy. I had trouble grasping the films as a whole, and long chunks would consequently bore me as I floated adrift on the sea of emotion, until some undeniably explosively awesome moment would happen. But the films always haunted me. What I see now is how his films improve over repeated viewings -- from seeing them consecutively, getting on his wavelength, and learning to speak his language. These films are like people, interesting and complicated people. You don’t always understand them at first, but as you get to know them, all of their quirks make more and more sense. They reveal themselves.

Rewatching his films, I often have an epiphanous moment when the code cracks, and suddenly the whole crazy experience falls into place. I immediately want to see the whole movie again, or at least revisit it in my mind, now that I know how it's all working. His films are like relatives; my feelings towards them change as I get older, and as I understand them better. I may still hate the way my mother screams like she’s witnessed a murder just because she drops something in the kitchen, but more and more it becomes inextricably interwoven with my deeper understanding of who she is, and why I love her.

If I had to sum up one thing I’ve gotten out of all this, it’s a knowledge of the incredible focus Cassavetes had. Truffaut once said that all great directors must sacrifice some aspect of filmmaking to achieve something brilliant -- in essence, the bedsheet never covers the whole bed. And no one has worked harder to go as deep as possible exploring the complexity of human interrelationships than Cassavetes, and while he did love other aspects of film, he would give up anything -- the framing, the editing, the continuity, the smoothness of the story, paradoxically even his own understanding of the characters -- to reach a certain ecstatic emotional depth. He wanted you to feel as intensely and thoughtfully about his films as you did about your own life, and sometimes (perhaps by definition all the time) that means you can’t fully understand them.

As I said before, here’s your chance to have a “masters class” in John Cassavetes. We’re showing not just every film he directed, but films he starred in, his rare television work, and even films made with people he just worked closely with -- 'cause we know what it’s like when you get obsessed: everything and everyone he touched takes on a certain interest. We’ve got restored prints from UCLA, rare trailers, and lectures. We’ve got sidebar tributes to Ben Gazzara, Seymour Cassel and Gena Rowlands -- all appearing in person -- where we’ll tour through their own careers as actors. We’ve rounded up virtually every guest that could be had. This is the best chance you’ll ever have to do this right.

This series is a once-in-a-lifetime opportunity. -- Hadrian Belove

Check out CineFamily now.

Doesn't This Make You Want To Go Out And Make Some Movies?

Okay, if it doesn't make you want to make them, it should make you want to see some.

Cassavetes Retrospective (trailer) from Cinefamily on Vimeo.

I continue to be 1000% impressed with CineFamily's programming. Watching this I dream that all of LA changes its tune and starts aiming to make movies of emotional truth. Well a guy can dream...

Check out the entire Cassavetes program this month in LA at Cinefamily.

Brave Thinkers Of Indie Film, 2010 Edition

We have a bit of a redundancy in the recognition of those that create good work, but that good work does not end with what is up on the screen -- which is the part that everyone seems to want to write about.  I feel however that we must recognize those that focus not just on the development and production of good work, but those that commit themselves to ALL of cinema, including discovery, participation, appreciation, and presentation -- what I consider the other 4 pillars of cinema.

Last year at this time, I put forth a list of inspiring folks, people who by their acts and ideas were giving me the energy to keep striving for a better film culture and infrastructure, one that was accessible to all, and slave to none. We are closer to a truly free film culture this year than we were last year, and I remain optimistic that we can be a hell of a lot closer next year than we are today, thanks in no small part to the 40 I have singled out these two short years.

This list, like last year's, is not meant to be exhaustive. Okay, granted I did not get to the quantity to the 21 Brave Thinkers that I did last year, but the quality is just as deep.  Regarding the lesser amount, I don't blame the people -- I blame the technology (of course).  I wish I had better tools of discovery that would allow me to find more of the good work and efforts that are out there. I know I am overlooking some BTs again this year. But so be it -- one of the great things about blogging is there is no need to be finished or even to be right (although I do hate it when I push publish prematurely -- like I did with this -- when it is still purely a draft).

I know I can depend on you, my dear brave thinkers, to extend and amend this work into the future.  I do find it surprising how damn white & male & middle aged this list is.  And that I only found two directors to include this year.  Again, it must be the tools and not the source, right?  Help me source a fuller list next year; after all, it is as Larry K tweeted to me about regarding who are the most brave these days: "Those whom you don't know but who continue, despite the indifference of all, to create work that is authentic,challenging and real."  How true that is!

Last year I asked and stated: "What is it to be “brave”? To me, bravery requires risk, going against the status quo, being willing to do or say what few others have done. Bravery is not a one time act but a consistent practice. Most importantly, bravery is not about self interest; bravery involves the individual acting for the community. It is both the step forward and the hand that is extended."

This year, I recognize even more fully that bravery is a generosity of spirit, as well as a generative sort of mind.  It is extending the energy inside ourselves to the rest of the world.   I often get asked why I blog (or why so much), and I have no answer for those folks.  It can't be stopped, for I believe if we love the creative spirit as much as the work it yields, if we believe we create for the community and not for the ego, how can we not extend ourselves and turn our labor into the bonds that keep us moving forward.  In other words, no one can afford to create art and not be public (IMHO).  If you want a diverse and accessible culture of ambitious work, you can not afford to simply hope it will get better -- you have to do something (or get out of the business, please).

So without any further adieu, here's my list of the nineteen folks who have done more on a worldwide basisto start to build it better together, to take what remains of a crumbling and inapplicable film culture & infrastructure, and to try to bring it into the present. They all share a tremendous generosity and open spirit, embracing participation and collaboration.

This is no longer a world of scarcity and control. These nineteen have begun the hard work of designing a new world of film based on surplus and access -- and the resulting community that grows from that --, and their actions and attitude give me hope for what is to come.

  1. Wendy Bernfeld - The transformation from an entertainment economy designed around scarcity & control, to one built for surplus & access requires new business models and new sales models.  Filmmakers struggle with this more than anyone as most of the sales agents still push for the deals that deliver them the highest return for the least amount of effort.  This is not so for Wendy, whom through her company Rights Stuff has started the task of moving towards the short term non-exclusive license world this new world requires.  Furthermore, Wendy has shared her knowledge both on my blog and at speaking engagements the world over.  Her openness and forward thinking is an example for all of us.
  2. Peter Buckingham - Until the UK shuttered the Film Council, Peter ran their innovation fund.  Perhaps it's just that I sit in America, but to think of  a public official who is so committed to moving both the dialogue and the process forward as Peter, is no easy feat.  Peter helped launch the UK's Digital Cinema Initiative.  His insight on the possibilities of meta-datat are always inspiring.  We could use an ample dose of his high energy leadership on our shores if we are going to get some real things done here.
  3. Edward Burns - Although he has more access to the Hollywood machinery than most, for his latest film, Nice Guy Johnny, Eddie not only went the no-stars micro-budget route, but he set out to distribute it himself from the start.  With no marketing or advertising spend, Eddie has enjoyed a revenue return far in excess of his investment.  As much as I admire his courage and commitment, it his openness about the process that I find most inspiring.  In festivals, colleges, and even The Today Show, Eddie has shared his frustration and hope.  He's also consistently looked for new ways to help people discover his work.  His Homage Trailers, where he remakes trailers of classic movies using footage from his own film, are filled with wit and humor and not to be missed.
  4. Efe Cakarel & The Mubi Team Of the folks listed here, Efe may be the one I am most remiss about not listing last year.  The former Auteurs -- now Mubi -- remains the most robust community of film fans on the web, while being a dynamo curator of quality film on a global basis.  Yet, it seems good that I overlooked Efe and his Mubi team last year, as the transformation to Mubi and their extension onto the Playstation platform gives film fans more access than I could have previously imagined.  The challenge of bringing quality work to the community and generating discussion remains large, but these folks are leading the way.
  5. Henning Camre - President of the Think Tank on European Film and Film Policy,  former head of both the Danish Film School and UK's National Film and Television School, and the Danish Film Institute, Henning is pushing through the necessary change in the Scandinavian Film Industry -- but it is a ripple that will resonate throughout the world.  I got to participate in the Think Tank as was deeply impressed at the quality and depth of the presentations and organization.  No one ever likes to volunteer for the heavy lifting, but Henning has several times over.  Change only comes when we recognize the pain of the present outweighs the fear of the future, and Henning's clarity of vision towards the new reality has no equal on our shores.  He embraces both the new and the old, the conservative and the radical, subscribing to the reality first, probing beneath the perception to unearth the hard facts about access and practice.
  6. Sheri Candler When you believe in something you want to share it, right?  Sheri embodies this statement like few others.  Her commitment and faith in audience and community building is contagious.  An avid user of social media, it is hard to miss Sheri in the virtual world, as she lends her voice, heart, and hand to filmmakers trying to sort out a way to connect and build the necessary bridges. Added bonus for following Sheri?  Her ideas are good and well thought out!   Last year's Brave Thinker, Jon Reiss attests: "I met Sheri just over a year ago after I had just finished Think Outside the Box Office – where else – but on Twitter. She reached out to me, as she does with countless others, and since our first meeting has been an invaluable partner – passionate, incisive and always on the hunt for new ideas and new people that can help filmmakers (myself included) connect with their tribe and help solve the problems facing us all in this challenging time. Her tireless engagement and generosity sharing her wisdom and discoveries is a constant inspiration to me and should be to all in our community."
  7. Adam Chapnick CEO of Distribber.com, a company that places film and TV content on digital sales platforms such as iTunes, Netflix and Amazon for a flat fee while allowing filmmakers to keep 100% of their revenue.  As Adam said in his HopeForFilm post: "Distribber was created to help rights holders maximize the payback from their work and investment.  More specifically, Distribber was conceived as a solution to several persistent complaints from filmmakers and other creative rights holders about distributors in general and aggregators in particular."  Distribber, and Adam's efforts, are key tools in the building of a middle class of artists who own and profit from the work they create.
  8. CineFamily - When it comes down to email blasts that I love to receive, nothing rivals Cinefamily's.  Bold programming, well presented.  As curators, they expand my knowledge.  As a hardened New Yorker myself, these Losangeleans give me a reason to long for the west coast.  They show us all how to use the web, and use it well.  In an era and city of mass conformity, they show that it is still both set & setting, programming broadly to the narrow, with verve and attitude. Sure this kind of stuff goes over in quirk capital's like Austin, but little did I suspect LA to deliver so much fine weirdness. To quote their own site: "The Cinefamily is an organization of movie lovers devoted to finding and presenting interesting and unusual programs of exceptional, distinctive, weird and wonderful films. The Cinefamily’s goal is to foster a spirit of community and a sense of discovery, while reinvigorating the movie-going experience. Like campfires, sporting events and church services, we believe that movies work best as social experiences. They are more meaningful, funnier and scarier when shared with others. Our home is the Silent Movie Theatre, one of Hollywood’s most beloved and beautiful cultural landmarks. There, The Cinefamily will provide a destination spot for Los Angelenos and others to rediscover the pleasures of cinema."
  9. Dylan Marchetti & Variance Film - I may not have heard more filmmakers praise a distributor this year, than Dylan.  Furthermore, I don't know of a distributor who maintains such an accessible and vocal presence online, thinking aloud, and engaging the community on the search for a new model that could serve the widest definition of film.  Working on a flat fee basis versus a percentage of the gross, committed to a firm code of ethics, committed to 100% transparency in accounting, and 100% control for the filmmakers at all times, Dylan is a true partner in the emerging artist/entrepreneur economy.
  10. Thomas Mai - I have had the first hand pleasure of sitting in the audience as Thomas pitches filmmakers on the power of social media and the new era of truly free film ahead of us.  I have seen the skeptical grow empowered from his presentations.  Thomas, a former sales agent, has taken his rant on the road, sharing his insights with audiences worldwide.  From a base in Brazil, Thomas has used a shaky internet connect to distribute his lectures across the global.  And he has given quite a few public speaking tips along the way, not to mention writing well-shared posts for HopeForFilm. You can check out one of his lectures on his site www.thomasmai.net.
  11. Karol Martesko-Fenster Brian Newman summed it up well, about Karol: "While he is no newcomer to the scene, having either founded or been part of the founding of a great part of the indie scene (Resfest, Filmmaker Magazine, indiewire) he continues to reshape it at Babelgum. Under the direction of Karol, Babelgum has been licensing (i.e. paying real money) work from independents who push boundaries. Whether it's funding the Workbook Project, helping Sally Potter to be the first filmmaker to release a feature on a cellphone (day and date with it's festival premiere) or funding the "prequel" docs leading up to the film "Bombay Detective," Karol is pushing the field forward with the development of new artistic practices and business models."
  12. Thom Powers Founder of Stranger Than Fiction, programmer at TIFF, co-founder ofCinema Eye Honors, this year Thom expanded his base still further as one of the founders of the DOC NYC fest.  Few have done as much to further the community and appreciation of film in NYC.  He has helped to build an energetic and passionate doc community, and never stops thinking about how to extend it further.  A man with a mission if there ever was.
  13. Casey Pugh We need to facilitate collaboration between the tech and filmmaking worlds.  Having been involved in building the Vimeo player and then Boxee, Casey's already done a lot (and I think he is only 26).  An Emmy award joined his list of accomplishments this year, and the cause of this award, is my favorite film of the year, Star Wars Uncut.  I am eager to see his latest project, VHX launch in the months to come, as I am confident it will be another step forward for a truly free film culture.  Casey sees the big picture, the full definition of cinema.  In his work he's building the ramps and bridges connecting the six pillars of cinema: discover, development, production, participation, appreciation, and presentation.
  14. Orly Ravid & The Film Collaborative - A not-for-profit film distributor has long been a dream of mine, but it took Orly and her team to actually do it.  For a truly free film culture to exist, sustainable enterprises must be built that facilitate the connection between unique work and audiences on terms that go beyond profit.  THE FILM COLLABORATIVE is the first non-profit, full-service provider dedicated to the distribution of independent film.  Not much more to be said, but Orly's demystification of the sales and distribution processes, a refreshingly open approach to the numbers and realities of the distribution effort, via her blogging have gone a long way to helping filmmakers across the globe understand the world we are living in.
  15. Michel Reilhac of Arte France I asked Brian Newman about Michel: "Michel has probably embraced the "new paradigms" of the film/media world better than anyone else, and he speaks and writes about it with an eloquence sorely lacking in the field. For just one example, see his "Gamification of Life" speech at the Power to the Pixel forum.  He has helped transform Arte France into a leader in the support of transmedia, even pushing them to think about how this affects their daily work. He is also a mentor and friend to many filmmakers, helping them find and tell their stories in both new and old ways - but always better. But what most endears me to Michel's work was his recent decision to stop funding conferences and training, instead giving more money to filmmakers to push the field forward by experimenting in their craft. Great idea: less talk, more action." Amongst many round-breaking projects are their award-winning documentaries, Gaza-Sderot and Prison Valley -  beautiful examples of new approaches to story-telling using the web and interaction.
  16. Mike Ryan - Perhaps no post on indie film initially infuriated me as much as Mike's Filmmaker Mag piece on the "current preoccupations of the indie film scene".  I strongly disagree with Mike's blame-it-on-the-audience and build-it-and-if-it-is-good-they-will-come approach, but as the days turned to weeks and the weeks turned to month, the necessity of his central message of needing to be driven by the art and not the business resonated in deeper and deeper ways with me.  It is a brave thing to say, particularly as a producer, that you do not care if something makes money and that the art comes first. Mike leaves no doubt that he is  a man of bold visions and strong opinions; he is not afraid to speak truth to power.  He is both rigorous and playful in his thinking, and he invests it in new projects and filmmakers, not because of the business or opportunity, but because he believes that what they have to say and how they choose to say it is important.  American Indie would not be the fertile ground it is these days without Mike's efforts, but his efforts don't end there: Mike helped to co-found HammerToNail with both Corbin Day, Michael Tully, and myself; Mike helped start an initiative in Memphis to train underprivileged youth in film, and Mike has trained many another up and coming producer.
  17. Yancey Strickler & Perry Chen Of any one on this list, Yancey and Perry are probably the only ones whose creation has moved from an object to a verb.  In certain circles I have heard Kickstarter to stand in for crowdfunding.  Although they are not the only game in town when it comes to mobilizing the community to put worthy projects into being, they've certainly been among the most prominent.  Mark Rosenthal of Rooftop Films makes their commitment clear: "It’s brave to share your creative dreams with the world, to put your faith in people, to seek support from strangers. Everyone who’s putting their films and albums and paintings and gizmos on Kickstarter is taking a chance that people will like what they’re doing. But it takes other brave people—like Yancey and Perry—to spend years of their lives building the site and enabling the community to build. Great job, guys."
  18. Timo Vuorensola PowerToThePixel's Liz Rosenthal said: "Timo Vuorensola is a film director from Finland and an early advocate of crowd-sourcing and social filmmaking. His first feature, the sci-fi comedy Star Wreck: In The Pirkinning was several years in the making. He and his team built an active community of 2,500 around the making of the film . The community co-created around 50% of what made it into the final film, They helped with aspects of casting, writing, music, 3D modelling, CGI effects, translating the film into more than 30 languages. It has since achieved cult success, his evangelical community helping spread the word and has been downloaded over 8 million times through official torrents whilst the team sold DVDs and merchandise of the film. Timo launched wreckamovie.com, a new web service that enables filmmakers to build and collaborate with online communities around their films.Timo’s second feature, the sci-fi comedy, Iron Sky, which tells the story of Nazis who come from the Far Side of the Moon, is due to be released in 2011 and has a budget of 6.5 million euros. Fans have already been able to help with ideas in Wreckamovie and helping to fund the movie by buying merchandise, donations and also offering a chance to invest in the movie and share its possible profits."
  19. Rainn Wilson As I stated the other day: "Rainn gives back in a big way. I am a bit in awe in how generative and generous this man is. There's a reason why he has over 2 million twitter followers and it's not just because he's really funny. He cares about things. He cares about people. He cares about process. He's thoughtful."  If you haven't ever checked out Soul Pancake, a site he helped found, nows the time.  I got to know Rainn this year as he both Executive Produced and starred in SUPER (which I produced with Miranda Bailey).  It was Rainn's tweet that he and "James Gunn were going out with a low budget f'd up Watchmen" that drew me to the project.  His commitment to social media definitely played a big role in the financing and sale of the film.  Through Rainn's commitment to a better world, he is inadvertently building a better model both for film and us as individuals.

I recognize that many of these folks have written for HopeForFilm, but it is something that I encourage people whom I admire to do (even some that I don't!).  There are also some on this list that are good friends, but I like to socialize with such types, so what can I say?  Some people on the list are folks I have or have had business with, and some I plan to have business with in the future, but the same holds true for the professional sphere as is in the personal -- when people do good things, I want to get to know them.  Is that at all surprising?

I remain thankful a great deal this year including making one film and selling another.  This list is my thanks to some of those who inspire me.  We can build it better, together.

P.S.  I solicited nominations this year from last year's Brave Thinkers.  David Gertz went as far as to write a whole post on the companies that are doing the work that will allow a new infrastructure to take hold.  Check out his post here.

Old Problems, New Solutions: Film Fest Rock & Blues

Today's guest post is by director Allison Anders (Mi Vida Loca, Grace Of My Heart), co-founder of the "Don't Knock The Rock" Film Festival" Seven years ago I was given one of the greatest opportunities of my opportunity-rich life -- a tenured post at UCSB as a distinguished professor in the Film And Media Department at UC Santa Barbara, where I remain on faculty, teaching one quarter each year. My first quarter I created a class on rock 'n' roll films since this had long been my private passion, and called the course "Don't Knock The Rock", named for the 1956 Alan Freed, Sam Arkoff, Columbia film of the same name. I loved the experience of sharing these music rich movies so much I didn't want it to end.

With the help of producer Elizabeth Stanley who was at that time at the DGA, and who connected me to festival producer Gianna Chacere (now with The Hamptons Film Festival) , I began to lay out plans for a festival in Los Angeles showcasing rock 'n' roll movies. My musician daughter Tiffany Anders was returning to Los Angeles, after living in Brooklyn for a good chunk of her 20s, so I immediately welcomed her home and enlisted her to curate live music for my hair-brained idea. The first year she delivered Sonic Youth, J Mascis, The Tyde, Dead Meadow, Wayne Kramer, and Ariel Pink before I even knew he had been born!

We are now launching our 6th annual (we took one year off) DKTR Fest July 8th and will run every Thursday of July and August at The Silent Movie Theater, Los Angeles. From our first Don't Knock The Rock Film And Music Festival, our agenda was, and remains, the same: to showcase music films and live music performances for die-hard fans and music nerds and to get the word out to them. We are dedicated to that agenda, even though the struggles of the niche film festival like ours are many, well actually, money; the struggle is always money.

We are blessed to have returning sponsors who have been supporting us every year since our beginning, BMI Music, Criterion Collection, Globe Shoes and more. But we are finding it harder to survive, and have watched well-heeled festivals disappear while we remain the little festival that could. This year, just when we wondered if we could go on, we discovered community funding as an option. In particular, Kickstarter! We weren't sure if we qualified since we have already been established but our project was accepted and we launched our pledge drive on Kickstarter to raise additional funds to bring filmmakers to us so they can see their film with a live audience (which for many filmmakers these days is becoming a rare experience) and to be able to compensate our musicians, who perform live for far below their quote, with a token of our appreciation for giving our audience a one-of-a kind experience.

The model for Kickstarter is brilliantly simple and effective: if everyone kicks in a donation to projects they'd like to support, these films, events, books, music, art will all see the light of day. And the even more beautiful part of it is that by donating to each other, we can help bring to life a culture we want to share. For every pledge to donate money to a Kickstarter project, you will get something tangible in return. We are loving our Kickstarter project and urge everyone to check it out cause we think we have some of the very coolest rewards ever from our awesome sponsors!

And we are very excited about our line-up this summer! Whenever possible we try to open our festival with a film which exemplifies an artist band or genre of music born right here in So Cal. "The Wrecking Crew", "Chicano Rock", "Gram Parsons: Fallen Angel" and "Ghost On The Highway: A Portrait Of Jeffrey Lee Pierce" have been a few of our LA-centric openers. This year we are so happy to launch DKTR 2010 with a beautiful film by Italian filmmaker/musician Cosimo Messeri, "The One Man Beatles: Something About Emitt Rhodes" Hawthorne's own son. In 1967 upon hearing and falling in love with the first 2 singles ("Live" and "You're A Very Lovely Woman") of Emitt's band The Merry-Go-Round, I ached for more till his long lost solo records were rediscovered in the late 80s and distributed on a collection by Rhino. These are melancholic yet accessible pop melodies that will stay with you, and a story that will move you as much as the music. Emitt Rhodes himself will be in attendance and we are thrilled to be able to celebrate his work in person with him. A tribute concert will follow the screening! Merry-Go Round/Emitt Rhodes expert Rhino's own Andrew Sandoval will DJ a brilliant set including never before heard Emitt Rhodes material.

From Australia we have a restored print of 1984's "Dogs In Space" with Inxs singer Michael Hutchence, a film not screened in LA in ages, along with the LA premiere of "We're Living On Dog Food" by director Richard Lowenstein on the vibrant Aussie punk and post punk scene of the early 80s, co-sponsored by "Part Time Punks" with DJ Michael Stock spinning tunes. We also have an amazing film of one man's quest to reunite the not-on-speaking-terms band The Kinks, in the film "Do It Again", and will follow up with a unique live Charles Beardlsey Kinks clips-mix from his private collection. And speaking of private collections of clips, Target Video pulls together a unique mix of Joe Rees video live performances late 70s early 80s "So Cal Uber Alles".

And following in a tradition of honoring our electronic music pioneers, to kick off the month of August we have the LA premiere of "Deconstructing Dad", a film by Stan Warnow about his father Raymond Scott with a special tribute to Scott's varied career followed by an incredible feast of WB Looney Tunes bearing the music of Raymond Scott curated by Jerry Beck, animation historian! Scott pal Skip Heller DJs! On Saturday afternoon Aug. 7, we will host as we do each year our ever popular BMI Music Roundtable Chat with pros in the music and film businesses discussing how to get your music into films, and for filmmakers how to find affordable music for projects. Aug 12, we have a full night Lee Hazlewood blow-out with 2 ultra rare titles "Cowboy In Sweden", "Nancy And Lee In Las Vegas" coming from the estate of Swedish filmmaker Tor Axelman.

And Also in August, an evening with legendary LA filmmaker and LA cultural historian Thom Andersen (LA Plays Itself) premiering his new film "Get Out Of The Car" and 2 rare music-filled LA pieces "--- -------" and "Olivia's Place" as well as other music-related films curated by Andersen who will be present for Q&A's and hangs! And closing night we will premiere a film by songwriter Mark Sebastian and filmmaker Todd Kwait "Vagabondo" a film about legendary Greenwich Village folk singer Vince Martin. Martin will also be present for a lively Q&A, and a tribute concert to his beautiful songs will follow the film.

In a world in flux in terms of film financing and distribution, festivals have changed too. Sales agents have become far more powerful and their budgets smaller. Unless you're a major festival where they can sell their movie, and recoup for the investors, they cannot be bothered to even answer an inquiry from a smaller niche festival (this happened to us repeatedly this year). It's a shame cause this means that the very audience who would care don't get to see the film, it means the filmmakers don't get to experience their film with as many audiences, and it means that when the film comes out, if ever, no one goes to see it, cause no one knows about it, and it perpetuates this idea that music films don't make money, so less of them get made. When in fact, people would come, if they knew about it and if they were targeted as the viable audience that they are.

This is clearly a dead model. I'm looking forward to new models. And community-based funding and supporting local venues for niche festivals are a step in the right direction ahead!

For the DKTR Kickstarter page go here: http://kck.st/cmuBAi

For the complete DKTR 2010 line-up and to buy tickets go here: http://cinefamily.org/calendar/thursday.html#july