Week 15
Answers taken from Lance Weiler's Article “Navigating the Digital Divide”
6. What are the current platforms and delivery systems for digital distribution?
"The market is currently divided into two types of platforms: PCs (personal computers) and living room devices (set-top boxes, gateways and gaming consoles). The main delivery methods for both are downloads and streaming. Downloads can be DRM (digital rights management) protected files or DRM-free. "
7. What were the advantages and disadvantages of releasing Ed Burns’s Purple Violets on i-Tunes?
"The point of purchase presentation on Apple and iTunes helped it stand out from the hundreds of films being released. While the headline-generating iTunes release provided awareness for Purple Violets, the reality is that download services like iTunes have limited marketplace penetration. So similar to the strategy behind a theatrical release, Lubin and Burns are hoping that a national promotion within Apple Stores and placement within iTunes will help drive DVD sales when the movie arrives in video stores in the first quarter of next year. This fall Purple Violets climbed to number three on the most downloaded list behind Ratatouille and Pirates of the Caribbean, giving the film a wider reach than it would have gained from a limited theatrical release."The biggest disadvantage is that there is very little buzz outside of the WWW net.
8. What is a digital media aggregator, and what is its equivalent in the traditional home video chain between the filmmaker and the consumer?
"The equivalent would be the distributor and/or sub-distributor.
Purple Violets could not go directly to iTunes. The filmmakers needed to first go through a digital aggregator/distributor (in their case, New Video).
For those looking to break into online distribution through iTunes, living room boxes like Vudu and TiVo or traditional VOD providers such as cable, satellite and telcos, deals with aggregators are common. Aggregators assist with the vetting of titles similar to the way in which retail and rental outlets require producers to deal with a distributor. In fact in many cases an aggregator is a distributor or sales agent. Much of the industry has become risk adverse to dealing with single titles from producers. They prefer to work with distributors, aggregators, or sales agents who have a volume of titles that are properly cleared and vetted for release." The media aggregator is an entity that collects product and has a track record that is known to a buyer. This is important in picking a film for specific genres and audiences. There is less of an unknown factor to deal with in the business model geared for profit.
9. What are the parallels between Radiohead’s In Rainbows experiment and the digital distribution of the documentary 10 MPH? Why did the 10 MPH filmmakers choose the .m4v format?
"The .m4v files can be played on Quicktime player, iTunes or on an iPod device.
pick-your-own-price model the cash, this has helped DVD sales, opened up opportunities and given us instant reach all over the world.”
Radiohead sell direct to its own audience, but it allowed them to set their own price.
When it came time for Hunter Weeks to sell his doc 10 MPH, he and co-director Josh Caldwell took a DIY approach with the goal of reaching as many people as possible. In addition to DVDs, the team decided to offer digital downloads of the film in the iTunes .m4v format directly from their site. In effect, they created the same exact model that Radiohead employed for their release. the concept of selling multiple versions directly to one‘s audience offers independent filmmakers some interesting possibilities of their own." In both cases they are trying to eliminate the big companies or middle men. They are exploring the artist to buyer direct path so as to maximize their own profits.
10. Why did “giving it away for free” end up working better than a traditional $15,000 distribution offer for the filmmakers of Four Eyed Monsters?
"The free versions of the film assisted with sales of not only the movie but also merchandise. To date Four Eyed Monsters has sold 1,479 DVDs, 85 iPod downloads, 146 DVD downloads and the collaboration with spout.com has yielded more than $50,000 in sponsorship monies." Giving it away made it famous. They parlayed this into other sales that were connected to the film. Any kind of PR is good PR in regards to film sales.
Tuesday, November 25, 2008
Monday, November 17, 2008
Week 14
1. What does Flo Liebowitz mean by “dialogue as behavior”?
It’s the behavior of the speaker that’s talking in a film, which acts as a basis for one’s inference or take/understanding of the characters speaking the dialog. This dialog colors the fictional characters with textures of temperament and behaviors that repeat which are identifiable to them. Each character speaks in a specific manner that is part of their behavior and this conveys who they are in regards to each other. It’s the how/why they speak in the tones they use that is integrated to the overall mood/meaning of the film.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
Cassavetes and the New American Cinema conceived of narrative not in terms of contrivances of plot, but as a character-centered process that closely resembles real life. Relationships keeps changing and there is a lot of ambivalence between characters. The protagonists don’t have an arc and aren’t goal oriented.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
The script doesn’t fit the one page one-minute rule.
The script is only 55 pages, which is unusual for a full-length movie. The film functions/relies on a more visual/stylistic level than a plot driven narrative. It is “execution dependent.” The film uses mise-en-scene and the characters performances as emphasis to move the narrative along to an unpredictable conclusion. The script has 3 segments that are almost equal in length; the middle is not the biggest but smallest.
4. What is an "execution dependent" screenplay?
According to Christine Vacon, “There is no way to for the average Joe to tell what’s going to happen between script and screen-the financiers have to take a leap of faith.” It may mean when making the film you have to finish some of it to be able to show to investors who will then take the chance on you finishing the movie. You have to show what it’s about and what you have done stylistically and visually in order to complete financing. It’s very dependent on the director and his/her vision, of making the film in a very specific way to convey the meaning of the film.
5. What are the similarities and differences between Stranger than Paradise and punk films?
The characters in STP and punk films are the antithesis of characters that are goal motivated and action driven. There is no arc of improvement for the main protagonist, no happy ending. They suggest real life that has no meaning or purpose except that the characters are very engaging/interesting. They hold our interest thru out the film.
There’s no real violence/sex or anti-establishment aspect to STP as there would be in a punk film. They don’t have criminal vices and are not senseless punk rebels. We like these characters and can believe in them.
It’s the behavior of the speaker that’s talking in a film, which acts as a basis for one’s inference or take/understanding of the characters speaking the dialog. This dialog colors the fictional characters with textures of temperament and behaviors that repeat which are identifiable to them. Each character speaks in a specific manner that is part of their behavior and this conveys who they are in regards to each other. It’s the how/why they speak in the tones they use that is integrated to the overall mood/meaning of the film.
2. What are some of the connections between Stranger than Paradise with the New American Cinema, including Shadows?
Cassavetes and the New American Cinema conceived of narrative not in terms of contrivances of plot, but as a character-centered process that closely resembles real life. Relationships keeps changing and there is a lot of ambivalence between characters. The protagonists don’t have an arc and aren’t goal oriented.
3. In what specific ways does Jarmusch’s script deviate from standard scriptwriting structure and format?
The script doesn’t fit the one page one-minute rule.
The script is only 55 pages, which is unusual for a full-length movie. The film functions/relies on a more visual/stylistic level than a plot driven narrative. It is “execution dependent.” The film uses mise-en-scene and the characters performances as emphasis to move the narrative along to an unpredictable conclusion. The script has 3 segments that are almost equal in length; the middle is not the biggest but smallest.
4. What is an "execution dependent" screenplay?
According to Christine Vacon, “There is no way to for the average Joe to tell what’s going to happen between script and screen-the financiers have to take a leap of faith.” It may mean when making the film you have to finish some of it to be able to show to investors who will then take the chance on you finishing the movie. You have to show what it’s about and what you have done stylistically and visually in order to complete financing. It’s very dependent on the director and his/her vision, of making the film in a very specific way to convey the meaning of the film.
5. What are the similarities and differences between Stranger than Paradise and punk films?
The characters in STP and punk films are the antithesis of characters that are goal motivated and action driven. There is no arc of improvement for the main protagonist, no happy ending. They suggest real life that has no meaning or purpose except that the characters are very engaging/interesting. They hold our interest thru out the film.
There’s no real violence/sex or anti-establishment aspect to STP as there would be in a punk film. They don’t have criminal vices and are not senseless punk rebels. We like these characters and can believe in them.
Wednesday, November 12, 2008
Murphy
1. According to Murphy, what are the two major faults of the traditional screenwriting manuals in their treatment of independent cinema?
They emphasize the 3 act structure but ignore the alternative storytelling pattern.They favor plot over dialog. And the dialog has to be concise and serve a purpose. The manuel writers discourage the use of dialog.
They are formulaic and too inflexible for most indie scripts.
They don’t appreciate the innovations in indie films.
Many independent films are shorter than 120 mins. and don’t have an antagonist which the manuels stress. The behavior of characters are expected to be motivated and the endings have to be unambiguous. They also suggest that the protagonist undergo a transformation but many Independents don’t rely on the strong goal driven protagonist.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Murphy’s – 3 acts for most independent films.
Thompson - four acts or 4 large scale parts of 20-30 mins. for feature length Hollywood films but for some 100 mins. features it may break down to 3 acts.
Mckee - 3 major reversals are necessary to reach the end of the line in a full script.
Five steps : inciting incident, progressive complication, crisis, climax, and resolution.
There can be more than 3-4 acts but his most basic structure involves 3 acts and the inciting incident.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
They could be completely independent from the white establishment control. To politicize the question of technical competence. They opposed Hollywood
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Gunn made socially subversive films with Hollywood money.
Lee uses Guerilla tactics to finance & to get deals in Hollywood.
They emphasize the 3 act structure but ignore the alternative storytelling pattern.They favor plot over dialog. And the dialog has to be concise and serve a purpose. The manuel writers discourage the use of dialog.
They are formulaic and too inflexible for most indie scripts.
They don’t appreciate the innovations in indie films.
Many independent films are shorter than 120 mins. and don’t have an antagonist which the manuels stress. The behavior of characters are expected to be motivated and the endings have to be unambiguous. They also suggest that the protagonist undergo a transformation but many Independents don’t rely on the strong goal driven protagonist.
2. How are Murphy's claims about act structures in independent films different than McKee's model or Thompson's model?
Murphy’s – 3 acts for most independent films.
Thompson - four acts or 4 large scale parts of 20-30 mins. for feature length Hollywood films but for some 100 mins. features it may break down to 3 acts.
Mckee - 3 major reversals are necessary to reach the end of the line in a full script.
Five steps : inciting incident, progressive complication, crisis, climax, and resolution.
There can be more than 3-4 acts but his most basic structure involves 3 acts and the inciting incident.
5. Why did the filmmakers of the "LA Rebellion / Los Angeles School" (including Charles Burnett) reject traditional Hollywood production values?
They could be completely independent from the white establishment control. To politicize the question of technical competence. They opposed Hollywood
6. What are the two distinct notions of "guerrilla cinema" exemplified by Spike Lee and Bill Gunn?
Gunn made socially subversive films with Hollywood money.
Lee uses Guerilla tactics to finance & to get deals in Hollywood.
Tuesday, November 4, 2008
Week 12
Week 12
The Way Hollywood Tells It, 117-157
Picking Up the Pace
What were the average shot lengths (ASLs) for the following periods?
1920s – 4-6 seconds
1930-1960 - 8-11 seconds
Mid-1960s - 6-8 seconds
1980’s – 8-7 seconds
2000 (“by century’s end”) - 3-6 seconds
How has faster editing in Hollywood affected the other elements of film style?
Certain techniques are no longer taboo Such as: Cutting on movement, Rack focusing,
Cutting on flashes of light, whiplash pans and jerky reframing. Editors can cut at every line in the dialog, sometimes even in the middle. They also include a lot more reaction shots. The acting is no longer what is most important to a films success.
Going to Extremes
How were wide angle (short) lenses used after 1970?
Could be used in tight CU, with packed compositions & tight camera movements. They used wide-angle lens also to distort/exaggerate distances between background and foreground as well as to create expansive establishing shots.
How were telephoto (long) lenses used after 1970?
Could be used in tight CU or as an establishing shot as in “Jerry Macquire.”
The loss of resolution with the many defocused planes created a look that was associated with lyrical romance. It was used for Westerns, Musicals
The longer lens were used to provide the squared off planimetric image.
P. 139-151 What does Bordwell mean when he says “Our movies are sixties movies, only more so”?
It means that directors like Sidney Lumet and Tony Richardson set the tone for the next generation of directors by using fresh techniques and styles of filmmaking in the 60’s that broke the ground for modern filmmaking. Such as intensified continuity and choices of lens for emotion and style. We have movies today that are built on these masters’ styles and others like them and now filmmakers have taken everything beyond anything that was done in the past.
The Way Hollywood Tells It, 117-157
Picking Up the Pace
What were the average shot lengths (ASLs) for the following periods?
1920s – 4-6 seconds
1930-1960 - 8-11 seconds
Mid-1960s - 6-8 seconds
1980’s – 8-7 seconds
2000 (“by century’s end”) - 3-6 seconds
How has faster editing in Hollywood affected the other elements of film style?
Certain techniques are no longer taboo Such as: Cutting on movement, Rack focusing,
Cutting on flashes of light, whiplash pans and jerky reframing. Editors can cut at every line in the dialog, sometimes even in the middle. They also include a lot more reaction shots. The acting is no longer what is most important to a films success.
Going to Extremes
How were wide angle (short) lenses used after 1970?
Could be used in tight CU, with packed compositions & tight camera movements. They used wide-angle lens also to distort/exaggerate distances between background and foreground as well as to create expansive establishing shots.
How were telephoto (long) lenses used after 1970?
Could be used in tight CU or as an establishing shot as in “Jerry Macquire.”
The loss of resolution with the many defocused planes created a look that was associated with lyrical romance. It was used for Westerns, Musicals
The longer lens were used to provide the squared off planimetric image.
P. 139-151 What does Bordwell mean when he says “Our movies are sixties movies, only more so”?
It means that directors like Sidney Lumet and Tony Richardson set the tone for the next generation of directors by using fresh techniques and styles of filmmaking in the 60’s that broke the ground for modern filmmaking. Such as intensified continuity and choices of lens for emotion and style. We have movies today that are built on these masters’ styles and others like them and now filmmakers have taken everything beyond anything that was done in the past.
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