📍 CPH:DOX’s talent development programme CPH:LAB is open for entries! All about it right here - the call is open until June 15!
The lab is for filmmakers, storytellers and creative technologists who are eager to work on a specific project between documentary and technologies, where interactivity supports the creation of a narrative universe exploring phenomena that affect individuals and society.
Happy to announce Veronica Pamoukaghlian has just been selected for a residency to work on a feature screenplay at Centre Pompadour in France. We are extremely grateful to everyone who has given the first words of encouragement for this incipient project, María Rama, Didier Costet, Aranka Matits, Nicolas Pauls. ... See MoreSee Less
As filmmakers and executives get ready to head to Cannes soon, the business keeps changing more rapidly than the models can evolve.
The territorial pre-sale model of the foreign sales business (as well as independent film financing) is not conducive to the most lucrative future sales. Streamers frequently seek all territories to the titles they pursue, and are willing to pay a premium for that. In the pursuit of financing or placing the film with the right distributors at the right time, territorial deals are done that leads to having to exclude the future all rights in all territories deal. How much longer will artists and companies be willing to forgo the biggest win? As the business shifts away from a territorial presales model to one that allows for a worldwide acquisition on most titles, new financing models are needed faster than they have evolved. Who can afford to finance a film in full so they can maximize the potential for a lucrative possibility of a worldwide acquisition? Pre-sales not only limited risk but tested the market value. Is there some new way to replace it? Where do you think it is all headed?
So often when I am reading a script, I get halfway thru (if I am lucky) and say to myself, something to the effect of "good idea, interesting world, but... I want more emotion". I get it that it is hard to inject feeling onto a page, but how can we do it better?
Emotion starts with character. We are trained to articulate a character's wants. But I always feel emotion comes more from something further out, something arm's length from desire or motivation. Longing to me is ofter the source of the emotion we feel on the page. It is a second level desire, the kind that is not said, and not easily shared. The longing is also often not fully aligned with the plot but it can be used to shift direction. It is the piece that makes us human.
February 12, 2019 - For the twelfth year in a row, SXSW has invited IDFA DocLab to guest curate a session for the SXSW Experiential Storytelling track. The showcase, titled IDFA DocLab: Algorithmic Intimacy, will take place March 9 from 9:30 am - 10:30 am in Ballroom F of the Austin Convention Centr...
How to have a fulfilling career in the film business?
1. Work harder than is expected of you and be nice to people.
2. Generosity of knowledge, spirit, & opportunity.
3. A thirst for knowledge helps too. Always be learning (ABL).
3. A quest to refine the transformative power of art & storytelling can be a real asset also.
4. Work to change the status quo. Diversify power & potential.
5. Mentor & lift others up.
6. Don't let others bad ways shape your good intentions.
7. Don't compare yourself to others; trust in your own personal velocity.
8. Keep the good ones close to you.
9. Thick skin. Don't take it personally.
10. Recognize all you don't know. Collaborate to fill in the blanks.
11. Listen better than you speak.
12. Always look to see how you might make every situation better.
“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.” -- Bresson ... See MoreSee Less
“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.”