There I learned about the fascinating subculture of Betty Boop collectors. Betty was big in Japan in the 1930′s – I had no idea. I wish there were pictures of Japanese Betty collectibles online [...]]]> Boy have I been remiss in posting news. First item: I spent last weekend in Wisconsin Rapids, Wisconsin, attending the Betty Boop Festival.

There I learned about the fascinating subculture of Betty Boop collectors. Betty was big in Japan in the 1930′s – I had no idea. I wish there were pictures of Japanese Betty collectibles online I could share with you, but there aren’t; maybe Betty collectors are all cagey due to the intense licensing restrictions that surround the character.

I also learned more about animation legend Grim Natwick, who grew up in Wisconsin Rapids before moving to LA and changing cultural history.

I met a lot of people including Madison filmmaker Robert Lughai, who blogged this Boop Festival report with photos. I also met the venerable Maggie Thompson of the venerable Comic Buyer’s Guide, who shares her Boop Festival report.

Angelinos! SITA SINGS THE BLUES comes to LA for a 1-week engagement on 4/23 at:

The Laemmle Music Hall 3 9036 Wilshire Blvd. Beverly Hills, Ca [...]]]>

Angelinos! SITA SINGS THE BLUES comes to LA for a 1-week engagement on 4/23 at:

The Laemmle Music Hall 3
9036 Wilshire Blvd.
Beverly Hills, Ca 90211
tel: 310-478-3836

I felt sick listening, and wondered why. Monopolies were an unquestioned, underlying assumption. When the time came for audience comments and questions, I said that rights were monopolies, that monopolies prevent the market from functioning, [...]]]> Yesterday I attended a film conference. I found myself at a talk in which filmmakers were advised how to negotiate deals.

I felt sick listening, and wondered why. Monopolies were an unquestioned, underlying assumption. When the time came for audience comments and questions, I said that rights were monopolies, that monopolies prevent the market from functioning, that distributors can be great if they’re not granted monopolies, and that it’s up to us artists to not grant those monopolies in the first place.

Naturally, the speaker wasn’t too thrilled with my comment.

If filmmakers realized monopolies don’t serve them, he’d be out of a job (he’s one of the many professionals who “help” artists by “protecting” them). Later, I came up with a  metaphor (or meat-aphor) that helped explain my feelings: being a Free Culture advocate at a film conference is like being a vegetarian at a butchers’ seminar.

As a vegetarian I’ve learned better than to discuss dietary habits with the many carnivores who are my friends and loved ones. So I’m questioning what I’m doing at these conferences. I wouldn’t walk into a butchers’ conference and advocate vegetarianism. But what would I do if I were invited, because some of the butchers wanted to learn about vegetarianism, if only to marvel at its freakishness?

People seem to want to believe that just freeing works is some magic recipe for success. It isn’t. But since people crave simple business models, I came up with one this morning:

Quality Freedom Money ______ Any Two = success

A very good (Quality) film can succeed if it is Free (Freedom) OR has a big promotional budget (Money). A Free film [...]]]>

People seem to want to believe that just freeing works is some magic recipe for success. It isn’t. But since people crave simple business models, I came up with one this morning:

Quality
Freedom
Money
______
Any Two = success

A very good (Quality) film can succeed if it is Free (Freedom) OR has a big promotional budget (Money). A Free film can succeed if it is very good (Quality) or, if it’s not so good, it has lots of paid promotion (Money, because if it’s not good people won’t promote it on their own initiative). A film with lots of Money will succeed if it’s good (Quality) or if it’s Free. Imagine how much further a crap film could go if it’s not only heavily advertised, but Free to share too.

With only one of these properties, a film is unlikely to succeed. If a film is very good but neither Free nor Moneyed, no one will hear about it and it won’t have a chance to become popular. A Free film that sucks won’t go far. A Moneyed film will garner attention only as long as it’s being promoted; once ad spending stops, audience attention goes away.

With all three of these elements, you’ll have a success the likes of which the world has never seen. Moneyed productions have yet to be Free, but maybe someday, for some reason, someone will pour tons of cash into promoting a Free, Quality production. Of course if it fails, that will be due to insufficient Quality, which can’t really be measured and for which no one wants to take responsibility. If someone wants to try this experiment with Sita Sings the Blues, which is already considered “good” and is forever “free,” be my guest!

Given the financial dire straits of the independent film industry, filmmakers should really be looking at Free, because they’re unlikely to have Money. And everyone, always, should be focused on Quality, no matter what business model they prefer. Except Quality is a mystery, and worrying about it does not lead to better Art. But if you happen to luck into some Quality, you know what to do now.

To celebrate, there are not one but TWO count ‘em TWO screenings of The Greatest Break Up Story Ever Told this Sunday, February 14th at Symphony Space:

Sun, Feb 14 at 1 pm and 5:30 pm

It’s a perfect non-date movie! And I’ll be there in person for post-screening Q & A’s.

Love to my [...]]]>

To celebrate, there are not one but TWO count ‘em TWO screenings of The Greatest Break Up Story Ever Told this Sunday, February 14th at Symphony Space:

Sun, Feb 14 at 1 pm and 5:30 pm

It’s a perfect non-date movie! And I’ll be there in person for post-screening Q & A’s.

Love to my single peeps!

I miss San Francisco, my former home! But not so much I’m willing to go through airport security. Those of you who are lucky enough to live in the Bay Area may enjoy Sita Sings the Blues on the big screen at the Red Vic:

Tues Feb. 9 – 7:15, 9:15 Wed Feb. 10 – 2:00, 7:15, 9:15 Thurs [...]]]>

I miss San Francisco, my former home! But not so much I’m willing to go through airport security. Those of you who are lucky enough to live in the Bay Area may enjoy Sita Sings the Blues on the big screen at the Red Vic:

Tues Feb. 9 – 7:15, 9:15
Wed Feb. 10 – 2:00, 7:15, 9:15
Thurs Feb. 11 – 7:15, 9:15

The Red Vic Movie House:

The Red Vic Movie House is located on 1727 Haight Street (map),between Cole and Shrader, just a block and a half east from Golden Gate Park. The Red Vic is also served directly by MUNI routes: 7,33,37,43, & 71.MUNI route 6 & N-Judah come within a few blocks.

Sun, Jan 31 at 5:30 pm Sun, Feb 7 at 5:30 pm Sun, Feb 14 at 1 pm and 5:30 pm

I will be doing Q and A’s after all shows. Notice there are two screenings on Valentine’s Day, because what better to show on the evilest holiday ever [...]]]> Sita Sings the Blues plays the next 3 Sundays at Symphony Space in New York:

Sun, Jan 31 at 5:30 pm
Sun, Feb 7 at 5:30 pm
Sun, Feb 14 at 1 pm and 5:30 pm

I will be doing Q and A’s after all shows. Notice there are two screenings on Valentine’s Day, because what better to show on the evilest holiday ever devised than the Greatest Break-Up Story Ever Told? It’s the perfect non-date movie!

The Revolution Will Be Animated from Marine Lormant Sebag [...]]]> An excellent new 16-minute documentary by Marine Lormant Sebag about Free Culture, Sita Sings the Blues, and me. Please watch it – it’s good and it explains a lot!

The Revolution Will Be Animated from Marine Lormant Sebag on Vimeo.

Sita Sings the Blues isn’t the only feature film made by one person in a small Manhattan apartment. Zachary Oberzan‘s Flooding With Love For the Kid was made in an even smaller apartment (220 square feet) and far lower budget ($95.51). (This budget doesn’t include any copyright clearances of course – don’t tell First Blood author [...]]]>

Sita Sings the Blues isn’t the only feature film made by one person in a small Manhattan apartment. Zachary Oberzan‘s Flooding With Love For the Kid was made in an even smaller apartment (220 square feet) and far lower budget ($95.51). (This budget doesn’t include any copyright clearances of course – don’t tell First Blood author David Morrell.)

It suspenseful and watchable from beginning to end. It has life and soul. It’s interactive – the audience knows they’re looking through the film’s surface when they engage with the story. I laughed a lot, but it’s not a comedy.

Zack did a post-screening Q and A, and sounded uncannily like myself (“I didn’t choose the book; the book chose me”). Like Sita, Flooding With Love was not storyboarded or carefully planned; it relied on the source text for structure. The contrasts between the films are notable too: Sita is a “feminine” story, from a woman’s point of view, made almost entirely by one woman; Flooding With Love is a masculine, one-man action story. If you miss all the battle scenes I omitted from Sita, all the warrior issues and male bonding that take up most Ramayana texts, you may find satisfaction in Flooding With Love. There are many other reasons to watch it; it’s a singular achievement, I can almost guarantee you’ve never seen anything like it before.

Hopefully it will screen again soon. It’s not yet available online, but it should be.