Though he named his moviemaker support group Filmmakers Alliance a decade ago, Jacques Thelemaque would never discredit the role that the digital medium has played in the success of his moviemaking endeavors. Now celebrating his organization’s 10-year anniversary, the future for both Thelemaque and his LA-based group seems paved with gold… and tape stock.

From the Sundance Film Festival in Park City, Utah, where he just screened his short, Infidelity in Equal Parts, Thelemaque spoke with MM about how DV has helped him achieve his career goals—and where he hopes it will take him in the future.

Jennifer Wood (MM): For most of the past decade, Filmmakers Alliance has been one of the best-known indie moviemaking groups in Los Angeles. Founded on the basis of simply having a support network, FA has grown steadily over the years. Though I know your members have produced works of varying lengths and formats, how has the proliferation of digital technology aided you in growing your organization—and allowed you to accomplish as much as you have?

Jacques Thelemaque (JT): It has been beyond helpful; the development of digital technology has been a stroke of divine providence. When we started, the goal was to empower filmmakers and aspiring filmmakers in a way other artists (sculptors, painters) can empower themselves. The emergence of digital was unbelievable timing. Although filmmaking will always be more expensive and complicated than most other creative endeavors, digital technology has brought an incredible democratization to filmmaking.

MM: And how about what the technology has done for you, personally? You’re about to screen your short, Infidelity in Equal Parts, which was shot in one day, edited in a week and cost you a whopping $30 to produce. I’m assuming that none of this would have been possible without the digital technology?

JT: Without digital technology, I probably would not be here at Sundance. My first short was on film and was incredibly expensive. My next three films (two shorts and a feature) were all digital and allowed me the ability to make these films and, as importantly, to evolve as a filmmaker. The last required a Canon XL-1 and a Final Cut Pro system—that's all! The $30 was just for tape stock.

Although I still love working with film and, indeed, intend to do my next feature on film (because some films must be shot on film), digital technology will always be an important part of my life as a filmmaker. And I intend to continue working extensively in the digital realm.

MM: Do you think it’s possible for anyone with knowledge and desire to do the same thing: to have an idea and—within a week—have a finished product to exhibit?

JT: Absolutely. However, I am shocked to find that a lot of filmmakers can't grasp this simple fact: that passion, knowledge, experience and creative ambition will move you much farther along in your life as a filmmaker than money.

MM: What immediately comes to mind as some of the best examples you’ve seen of an innovative and cost-effective use of DV moviemaking?

JT: I've seen many beautiful examples of cost-effective DV production, such as the Filmmakers Alliance short Sweet by Elyse Couvillion (Sundance 2001), and, in terms of innovation, the film-DV hybrid Paradox Lake by Shemie Preut (Sundance 2002).

MM: You’ve recently announced your partnership with Circle of Confusion, the management-distribution company that handles the Wachowski brothers, in which you’ll produce a series of $1 million digital movies. What will FA’s role in this partnership be, exactly?

JT: Circle of Confusion is actually one of two such deals and our role in both will be predominantly as the production company of record (line producers, basically). However, we will also be involved in the acquisition and development of projects as well as providing the pipeline to distribution through partnerships with Cinema Libre Studios and Jim Steele's Digital Cinema Solutions (DCS).

MM: What kind of films are you setting out to make with Circle of Confusion?  Will there be any set guidelines, as it relates to theme, equipment, etc.?

JT: The C of C deal will be strictly digital production and will focus on smart genre and niche films. This is the direction they have chosen and we support it wholeheartedly. If this first group of films succeeds financially, it gives us the room to spread our wings creatively with the next batch of films. Even with this first group, however, we will encourage them to get as daring as they possibly can and integrate as many creatively ambitious projects as possible into the mix. Or at least push the envelope with the genre films and let the directors boost them with really distinctive filmmaking visions.

MM: And all the films will be exhibited digitally, as well?

JT: Yes, again in partnership with DCS.

MM: In your opinion, what are some of the best films to come out of the so-called "digital revolution" thus far?

JT: Although there have been many solid live-action feature digital films, to be frank, I think we have a long way to go in terms of mining the creative potential of the “digital revolution.” But we are getting there, slowly. For me, the most exciting films produced digitally thus far are animated films and documentaries, of which there are way too many to mention.

MM: How do you hope Filmmakers Alliance will add to—or build upon—this legacy of movies?

JT: Our goal at FA is to encourage and support filmmakers in exploring the full potential of digital production—and not just mimic the way movies on film have been conceived and made for more than a century. If we’re successful, that will be a very satisfying legacy.

For more information on Filmmakers Alliance, visit http://www.filmmakersalliance.com