Editor’s column/daily commentary welcoming feedback and opinions.
Approach your regional film festival tour exactly as you would if all things were business as usual, BUT with much more management and care over your film. (And frankly, you should have been doing this anyway, but no one’s giving you side eye here so carry on…)
Now, one of the best sources for the films in my library has been Kino Lorber. The range and reach of the films they have available now makes them my favorite source of Blu-Rays and DVDs to go to. Yes, yes, yes, I have my share of Criterion discs, but there is a whole lot of broccoli movies going on there with few hints of popcorn, for my tastes, while Kino Lorber seems to be much more on my wavelength.
In the meantime, now that I have probably exhausted everyone’s patience by blathering on and ranting like an old man carrying a crumpled paper bag and out of date newspaper outside a deli, here is a quick list of ten people that I work with and for that I would suggest filmmakers, film industry types, and people reading the movie industry tea leaves SHOULD be paying attention to:
Here are a couple quick thoughts about Bart Weiss, the head of Dallas Video Fest and all of its film festival parts: He IS the film tastemaker of Dallas and Fort Worth and North Texas. He just is. Bart has his eyes, and ears, and heart, and most importantly – his brain On. The. Screen. Taste-wise, finger on the filmmaking pulse-wise, and eye out for what’s coming down the pike-wise, Bart Weiss is the benevolent leader we all take the lead from. Bottom line.
Anyone that knows me at all, or my history, knows about one of the primary things I do for a living, etc. would likely think it was fightin’ words if someone legitimately asked me, “What’s the point of having a red carpet at a film festival?”
The combination of the films’ subjects, as well as the attendance of Welles’ mom and dad, Alison and Jeff, made for an emotional, but uplifting evening. Following the screenings at the historic Riviera Theatre the filmmaker awards were announced and a check for $1000 went to charities benefitting Firefighters and First Responders. During the awards ceremony, upon receiving the award for Best Narrative Film, WATERLILY JAGUAR producer Jonathan Piumelli announced that he and art director Shannon Lee got engaged the night before. It was a sweetly uplifting way to end the inaugural NFIFF.
Gregory Kallenberg kicks off the Film Prize. This is the way you “baptize” your filmmakers and give them a kick in the pants to start off a fest. He sets the tone of “We’re all in it together, filmmakers, jurors, staff, and film fans – all of us.” If you’re not onboard after Gregory’s opening remarks, the filmmakers first “pitches”, and the legendary Film Prize tequila toast, then it’s possible someone should check your pulse.
I can’t imagine Francis Ford Coppola standing in front of a Best Buy bin while wearing an old-timey change belt or fanny pack and taking a couple dollars at a time for his GODFATHER films. So why should I do that with my next epic (because it will TOTALLY be an an epic, I’m telling you)?
So stop it. Stop with the had wringing. Stop with the thought police. Stop with the well-meaning, but misplaced attempt to put a layer of saran wrap over us as we watch films, or a comedy sketch or listen to the radio, or look at an art installation.
I describe myself as a “true believer” in film festivals and independent film. Mr. Rissient was the original “true believer.” If he took a liking to your filmmaking, you were “made” like being accepted into a high echelon of the movie mob. His word, his advocacy carried great weight.
