Hope For The Future pt. 9: The List #'s 35 -38

35. Film schools are waking up to the need to educate students on how to survive – it is not enough to know how to direct or produce, graduates must have real world skills too. Jon Reiss is developing a specific curriculum on this, and I have heard from others who are looking to do the same.

36. Filmmakers are recognizing that film festivals are more of a launch platform than a marketplace. More films have trailers available prior to Sundance than ever before. Some wise filmmakers even come to their festival premieres armed with DVDs to sell. Will this be happening at Sundance? Are there any filmmakers reading this who plan to? Let us know.

37. Cultural institutions are stepping into to fill the void left by mainstream media’s abandonment of the art film space. MOMA in NYC now schedules films for regular runs. If we want to see art, why not go to a museum? We need shrines to see beautiful projection and I hope there are many other institutions picking us MOMA’s lead. It could become an actual circuit.

38. The fight to restore integrity of the producer credit continues. The PGA continues to lead the charge here and looks poised to step it up. The recognition of the need to a specific financier credit is becoming part of the conversation – namely that the Executive Producer credit should not be used for line producers but preserved for those who help finance. There is so little dignity left in the role of producer, one hopes that the rest of the industry recognizes how they are all vested in restoring integrity to the credit. Granted there are times when more than three individuals truly are producers on a project, but twelve? Wouldn’t it be a great world if even the distributors committed to stopping over-inflated credits? If an organization like the PGA actually went after the individuals and companies who push for such false credits? Real producers are always in a vulnerable position when looking for cast and financing and a soft position will not get this done. Why does a distributor or sales agent seek such credits anyway?