Exhibitor of the Week

The Evolution of Cinevolve Studios

When it comes to marketing and promoting features, independent productions often get the short end of the stick. Studios will pump all their money toward promoting their blockbuster releases and leave the indie pictures out in the cold, struggling to find an audience. But Cinevolve Studios, set to be in full operation by the upcoming fourth quarter of 2007, promises to change all that and focus on supporting smaller features by any means necessary--focused public relations, traditional and non-traditional distribution methods and grassroots marketing.

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November 4th, 2007 | Category: Exhibitor of the Week | By Andre Ward

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Pocket Releasing with Power UP

New movie studios and new divisions of existing movie studios are created (or closed) almost every day, with little to no fanfare. Usually, it's not worth keeping track unless you're a studio suit. Well, Power Up, the only non-profit, all-volunteer, gay-influenced studio is one to keep an eye on. In July 2007, the niche studio announced their new Pocket Releasing division, which will focus on smaller, art-house films with lesbian and gay themes.

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October 8th, 2007 | Category: Exhibitor of the Week | By Brian Hickey

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San Diego UnderSea Exhibition

As relatively low-cost HD video cameras continue to reach the market, natural cinema has the potential to be more startlingly beautiful and full of more visual information than ever before. That's just the type of experience one can look forward to at this year's San Diego UnderSea Film Exhibition. What started out as a few local divers sharing information on shooting and editing underwater footage has evolved into a nationally recognized two-day screening program of the best videos of weird and wonderful undersea life.

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September 24th, 2007 | Category: Exhibitor of the Week | By Nina Boutsikaris

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San Francisco Cinematheque

The San Francisco Cinematheque was founded in 1961 with the goal of pioneering the way independent cinema was viewed and enjoyed. Since then, the Cinematheque has grown to become one of the most widely renowned film exhibitors in the world. But the Cinematheque is not only in the business of film; they explore digital media, performance pieces presentations, lectures, discussions and themed retrospectives, too. They even offer information to visiting critics and curators.

Founded by a group of moviemakers, including Bruce Ballie and Chick Strand, the San Francisco Cinematheque was the place for Bay Area artists to show their work in the 1960s. Along the long and winding way, the Cinematheque has established many partners to achieve their goal of furthering independent film.

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September 10th, 2007 | Category: Exhibitor of the Week | By Brian Hickey

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Film Street

“Do you love the summer holidays but hate being bored? Then why don't you enter the Film Street Summer Shorts Competition?” asks Britain's premier interactive Website for movie-loving kids. Film Street caters to young moviemakers, with games, resources, reviews, message boards and contests just for them. Cartoon characters guide them through the ins and outs of everything cinema, from storyboarding to lighting design. By just clicking a mouse, children can explore all the possibilities of making movies.

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September 3rd, 2007 | Category: Exhibitor of the Week | By Nina Boutsikaris

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Exhibitor of the Week: IndieOrbit.com

A new kid moved onto the block when IndieOrbit.com launched in early April 2007. Be wise and prepare for the revolution. Founded by William Cicchino and Los Angeles moviemaker Javier Ruisanchez, the young site offers its Web space and services to any artist looking for the next step in independent distribution. “Finding a distributor is the last link in the Hollywood chain holding back the indie filmmaker from reaping the profits,” says Cicchino. “I created IndieOrbit.com as an alternative.”

The site’s concept is “true Web distribution,” which means that for less than $200 your movie can be made available online to paying customers for a six-month period. That’s right—paying customers, plus space enough to sell advertising on your designated page. Which means you can make that money back and conceivably distribute your film for less than what you spent on crew meals for one week! You set the price and keep the rights with IndieOrbit.com.

“I see putting films on IndieOrbit.com as one of the standard steps in the process of distributing films, just as entering festivals is a standard now,” offers Cicchino of his hope for his online venture. “Whether as a sole form of distribution, a means to attract theatrical distribution or just a means to recoup some of your production costs, IndieOrbit.com will be a mainstream tool for independent filmmakers.”

Find out about IndieOrbit’s piracy protection enforcement (customers pay for a copy-proof, 48-hour rental) and other special features atâ€"that’s right, you guessed it—IndieOrbit.com.

Sound Off: For worldwide distribution, which would you prefer: Getting into a few festival screenings or posting your film online on a site like IndieOrbit.com? Sound off in our comments section!

â€"Mallory Potosky

May 6th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 6

Exhibitor of the Week: Ironweed Films

Though some might mourn the decline of box office numbers in recent years, the fading out of the movie theater as a venue of choice has made way for some true innovations in film exhibition. Netflix has popularized the rise of the Internet and the ease of renting by mail, but what options exist for cinephiles who are looking for something off the beaten path?

Ironweed Films fills this void with their monthly Film Club, which sends a DVD compilation to its members showcasing the best of today’s socially-conscious moviemaking. Even better, the DVD is yours to keep. “We look for important, newer films that have not yet received a wider distribution. Movies that deal with meaningful issues--censorship, war, our impact on the environment,” says David Steuer, head of production at Ironweed’s parent company, Act Now Productions. For instance, the latest installment of the Film Club, which explored the relationship between humans and the natural world, included a portrait of three bull-riding champions, a look at the local reaction to Timothy Treadwell’s death by bear mauling in Alaska and an interview with Nobel Peace Prize winner Wangari Mattha.

In addition to the Film Club, Ironweed works with organizations like the Earth Day Network to create action campaigns around the films that they screen. For a limited time, MovieMaker readers are invited to get a FREE TRIAL MONTH for the cost of shipping (just $2.95) and then only $14.95 per month thereafter. Log on to
www.ironweedfilms.com/affiliates/moviemaker/offer070227e to sign up or for more information.

Sound Off: Do you watch many “socially-conscious” films? Why or why not? Do you see film primarily as a vehicle for entertainment, or for effecting change? Talk back in the comments section!

--Jennifer Straus

April 2nd, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 2

Exhibitor of the Week: Warner Home Video

Warner Brothers has long been a household name. Originally the family distribution and production outfit entertained only those audiences paying to sit in a theater. Now, as part of the Warner Bros. Entertainment empire and the Time Warner family, Warner Home Video (WHV) brings cinematic entertainment right to a movie lover’s front door. As the world’s largest global video distributor, WHV offers 7,000 features, 40,000 television titles and more than 14,000 animated movies to its consumers--many under the Castle Rock Entertainment, HBO Home Video, New Line Home Video and MGM brand names.

Starting with James Cagney and Humphrey Bogart and running all the way to Leonardo DiCaprio (both Blood Diamond and The Departed are Warner Home Video releases) and Robert Downey Jr. (A Scanner Darkly), for those looking for a movie to watch in the comfort of home, chances are it will be from Warner Home Video. And that’s something that will remain true for many years to come, with the Harry Potter series already a WHV staple and box office hits Happy Feet and 300 just itching for a release date.

Sound Off: When Warner Bros. Entertainment began, directors like Howard Hawks and Darryl Zanuck were on the payroll. Today’s studios work differently—optioning works from directors of varied acclaim and character. It’s part of the reason why Warner Home Video can bring the works of both independent and blockbuster moviemakers alike to anyone with a working DVD player. The newer system benefits the viewer, but what does it do for the moviemaker? Send us your feedback in our “Comments” section.

--Mallory Potosky

March 19th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 9

Thought Equity Motion

Most beginning moviemakers picture their finished films ending up on the festival circuit or grabbing a spot on an art-house theater’s roster. But with so many moviemakers vying for the same few spots, the time has come to look beyond the box. To this end, Thought Equity Motion is providing a whole new way to distribute—and profit from—your film.

Thought Equity Motion is the largest distributor of online motion content, providing stock footage for such media giants as National Geographic, HBO and Sony Pictures Entertainment. Recently, the company has made its online publishing system even more accessible to indie moviemakers with the implementation of a self-upload submission program. Though similar in concept to sites like iFilm and YouTube, Thought Equity Motion differs from these online behemoths in that its primary focus is helping indie moviemakers actually make some money for their efforts. “Today, most self-submission sites provide good recognition for the filmmaker, but they do not pay the bills,” says founder and CEO Kevin Schaff. “[The self-upload program] allows individual producers of motion content to secure professional representation for, and make money from, not only their raw footage, but also their creative storyline and commercial concepts.”

According to Schaff, moviemakers are already earning tens of thousands of dollars in royalties from content they have posted on ThoughtEquity.com. In addition to welcoming “walk-in” submissions from moviemakers, the company also puts out a call for specific content. “Thought Equity Motion is completing the circle of commerce and opening a new revenue stream for the creative community,” Schaff notes, “one that will grow rapidly over the next couple of years.”

For more information or to upload your work, visit www.thoughtequity.com

Sound Off: Do you think moviemakers who license their work for commercial use are selling out? Or is it a smart move that will allow them to work on bigger better projects down the road? Talk back in the comments section!

February 18th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 1

Anchor Bay Entertainment

Classic film restoration is one of the greatest byproducts of the DVD revolution. The devotion of a niche audience is perfectly served by these technological advances, which offer better viewing experiences of well-loved films as well as an inside look at the minds behind these masterpieces. Several distribution companies have made their name by specializing in this subset of the film world, but few have dedicated themselves to classic horror and cult cinema as passionately as Anchor Bay Entertainment.

Anchor Bay is currently one of the top independent DVD distributors in the U.S., covering a variety of genres from anime to TV series. However, the company’s primary boon is its impressive collection of restored horror and cult films, from Robin Hardy’s The Wicker Man to Michael Lehman’s Heathers. Now Anchor Bay is one-upping itself with the creation of the Anchor Bay Collection, a new series of limited edition DVDs featuring some of the most celebrated modern classics in cult and horror.

“Fans have trusted the Anchor Bay name, ever since the beginning of DVD, to present their favorite cult and horror films with care and respect,” says Mark Ward, vice president of acquisitions at Anchor Bay. “Not only will the Anchor Bay Collection create definitive, archival editions of some of the greatest horror films ever made, but also embrace the best in cult films as well.” First up on the roster will be Stuart Gordon’s 1985 classic Re-Animator, to be released March 20.

For more information on the Anchor Bay Collection and other releases, visit http://www.anchorbayentertainment.com.

Sound Off: What other neglected film genres do you think deserve special attention from a distribution house? Let us know in the comments section!

February 12th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 3

Facets Multi-Media

Facets Multimedia is changing the face of independent film exhibition and distribution, one movie at a time. Founded in 1975, the Chicago-based organization prides itself on remaining one of the nation’s largest go-to distributors for hard-to-find niche films. According to the company’s marketing director, Ed Husayko, Facets was founded in order “to give people a chance to see films they had read about in film books or seen at a university film society. We were defined at the time [as a] ‘revival house.’”

Currently the company houses over 60,000 titles available for sale, and many for rental with their rent-by-mail membership program. In addition to these efforts, Facets’ recent venture into DVD production has produced nearly 15 new movies each month on the Facets DVD label. For Windy City natives, Facets’ Cinémathèque division manages daily screenings, festivals and “CineChats” with top directors at its two Chicago theaters. “We give the people of Chicago an alternative to what is commercially shown and the more commercial side of ‘independent cinema’,” says Husayko. “We still believe that there are movies produced for a certain niche audience and we are still committed to allowing this great, sometimes challenging, cinema to be shown.”

Visit www.facets.org for more information on what Facets has to offer you!

Sound Off: Facets Multimedia is truly a champion of indie cinema. As the independent film world becomes increasingly commercialized, do you think that companies like Facets will become obsolete? Or will there always be an audience for the avant-garde? Talk back in the comments section!

February 5th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

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CustomFlix

Recently it seems that more and more indie moviemakers are going the self-distribution route (David Lynch and MovieMaker’s own Timothy Rhys are just two examples). But inevitably, those who choose this method are faced with the challenging prospect of getting their film out to as many people as possible without spending too much money. Since 2002, CustomFlix has been helping moviemakers do just this through their unique DVD-on-demand service. Having been acquired by Amazon.com in 2005, CustomFlix provides unparalleled accessibility to the films it distributes, and frees moviemakers of at least one source of financial worry.

“The CustomFlix DVD on Demand service produces discs on demand, as orders are placed, so no pre-built inventory is needed and titles always remain in stock,” explains Dana LoPiccolo-Giles, co-founder and managing director of CustomFlix. “This enables filmmakers to sell films at a fraction of the cost of traditional distribution, while also maintaining unprecedented flexibility and control over their content.” CustomFlix’s partnership with Amazon has afforded the company new ways to distribute its clients’ work, such as the new video download service that allows moviemakers the ability to offer their films in a digital format with both “download to own” and “download to rent” options. Additionally, the company’s reach has extended beyond moviemaking to include the same services for musicians looking to self-distribute their albums. For more information on utilizing CustomFlix’s many services, visit www.CustomFlix.com.

Sound Off: While it may seem daunting, more and more moviemakers are going the DIY distribution route. Why do you think this trend is picking up? Is it the improvement in technology? Or are people simply fed up with the dead ends of traditional distribution routes? Weigh in by posting in the comments section!

January 29th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

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IndieFlix.com

IndieFlix is the fee-free answer to all independent moviemakers seeking representation and distribution assistance. Through its Website, IndieFlix.com, the company recruits and helps independent-minded moviemakers market and sell their movies on-demand.

“All of the time and energy required [for] marketing while managing your film’s metadata—updating, uploading, shipping masters and inventory or tracking the accounting and payments—is a daunting task when you’re selling on 10 or 20 different, hopefully credible, sites,” says Scilla Andreen, IndieFlix’s co-founder. “While providing fans with the access to one’s work is wonderful, it doesn’t leave much time for filmmaking.”

By listing with the company, moviemakers can gain time and money to begin or continue another project. Plus, they receive one-third of the profits, and automatically increase their exposure through access to the company’s numerous distribution partnerships. “We’re confident [moviemakers] will see greater profits from IndieFlix and will appreciate the control, simplicity and interactivity they get from us,” says Andreen.

According to the company’s founding partners, in the U.S. alone there are over 8,000 independent films produced annually that never see a theatrical release. Now, with companies like IndieFlix on the rise, theaters are no longer the only answer to reaching a wide audience.

For more information, visit www.indieflix.com.

Sound Off Question: As an audience, would you be likely to shop at IndieFlix.com (or a similar site) to purchase that hard-to-find independent film you saw at the local film festival last year? Let us know in the comments section!

January 22nd, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 7

Zeitgeist Films

Zeitgeist, as defined by the Webster’s College Dictionary, is “the spirit of the time.” That is to say, those trends and opinions which characterize a particular culture in any given period. With this all-encompassing word as their moniker and mission statement, Nancy Gerstman and Emily Russo, co-founders and presidents of Zeitgeist Films, have made a point of capturing this spirit by distributing some of the best foreign and independent cinema of the last 20 years.

Founded in 1988, Zeitgeist has always focused on cultivating what they call the “auteur-driven film,” selecting works that might be overlooked or avoided by other companies. From Todd Haynes’ Sundance award-winner Poison to the theatrical reissue of Jacques Demy’s The Umbrellas of Cherbourg, Zeitgeist swiftly made a name for itself as a company with discriminating—and impeccable—tastes.

Over the years, says Russo, “We’ve maintained our mission by continuing to acquire and release auteur-driven and challenging foreign films and documentaries, which reflect the world we live in today.”

Next up, Zeitgeist is set to release several exciting new films, including the three-hour acclaimed monastic epic, Into Great Silence by Phillip Groening, as well as Jennifer Baichwal’s multiple award-winning Manufactured Landscapes, which explores the photography of artist Edward Burtynsky.

For more information on Zeitgeist and its upcoming projects, visit www.zeitgeistfilms.com.

Sound Off: Zeitgeist Films has devoted itself to exhibiting those films it feels capture “the spirit of the times.” What recent films do you feel have captured the zeitgeist of the 21^st century? Talk back in the comments section!

January 16th, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 3

Angelika Entertainment Corporation

The Angelika brand name is famous in New York City as one of the few remaining vestiges of independent film.  Movie buffs escape to the theater on those unbearably hot summer nights.  Dedicated fans stand outside the Houston Street theater in the bitter New York winter winds to catch the latest in independent cinema. It is, needless to say, a landmark. But who knew that the charming Angelika is part of a larger entertainment media company with its fingers in everything from casting to distribution? In fact, the establishment wouldn’t be anything at all without its production arm—the division that started it all.Angelika Saleh began her movie career in 1969 as an actress and co-producer on the James Ivory production Bombay Talkie. Later, after failing to get distribution for her documentary Streetwise, Saleh charged full-force into self-distribution, acting as producer on the Academy-Award winning film. And the rest, as they say, is history.

The latest development in the Angelika empire is Angelika Classics, a private distribution label meant for the older Angelika films including an anniversary edition of Martin Bell’s Streetwise. “We would like it to function more like an independent record label within a larger media company [rather] than a free-standing operation,” says Angelika Entertainment general manager Barney Oldfield. The classics division will join the Angelika-sponsored NewFilmmaker Series and AngelikaTV—currently producing the YouTube hit “Illeanarama,” starring Illeana Douglas and Jeff Goldblum.

For more information on the Angelika Entertainment Corporation, visit www.angelikafilm.com.

SOUND OFF QUESTION: For those readers based in and around New York City, what was the most memorable moment you’ve had at the Angelika’s Manhattan location? Share your stories in the comments section!

January 2nd, 2007 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 3

Women Make Movies

2007 marks the 35th anniversary of Women Make Movies (WMM), and, according to executive director Debra Zimmerman, WMM has a lot to celebrate. Projects that come out of WMM have won Oscars, Emmys and Peabodies. They represent 30 countries and over 400 artists. But most importantly, they represent the female presence in the film world. Along with three theatrical releases, nearly 10 nationally broadcast films this year and one Oscar hopeful, “we are assisting more women filmmakers and returning more money in royalties to filmmakers than we ever have,” boasts Zimmerman.

The organization credits its success to bringing to the forefront that perspective that is, according to Zimmerman, “missing from mainstream media—a woman’s perspective.” In particular, female moviemakers are looking to WMM for help in distribution—a key component of the group which, according to its Website, is the “leading distributor of women’s films and videotapes in North America.” With a collection of more than 500 titles, WMM exhibits the work of women moviemakers all over the country, in a variety of non-traditional venues from museums and colleges to prisons and hospitals.

“When people ask me ‘What about ‘Men Make Movies?’ I say it exists—it’s called Hollywood!” Zimmerman laughs. “WMM is one small organization among many that puts women first. If you look at the percentage of films by women in major festivals, on television or in the cinemas, it seems clear that there is still a tremendous need for WMM.”

For more information about Women Make Movies, including how to submit your film for distribution consideration, visit www.wmm.com.

SOUND OFF QUESTION: Do you think an organization like WMM is beneficial to the movie community? Should women be singled out as a minority in the industry? Talk back in the comments section of our blog!

December 18th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 1

Arab Film Distribution

The 1990 Goodwill Games in Seattle, Washington saw the establishment of what is now a biennial tradition for the movie-friendly city: the Seattle Arab & Iranian Film Festival. That year, with only five movies under their belt, the producers of the festival began Arab Film Distribution. Now, with more than 300 available titles, it is the go-to source for films by or about the international Arab community.Arab Film Distribution represents the feature, documentary and short masterpieces of some of the Arab world’s most creative moviemakers. While the company has been around for 16 years, it seems more relevant today than ever before—providing the western world with a bit of insight into the commonly misunderstood Arab culture. With the company’s help it has now become easier for the everyday American to get his or her hands on otherwise barely accessible films being produced in countries ranging from Morocco and Libya to Yemen and Iraq.

If you’re looking for the 1963 Egyptian comedy Mother of the Bride, Arab Film is where you’ll find it. Wall, the 2005 Sundance Special Jury Prize winner about the Israeli-Palestinian conflict, is there too. Plus, don’t forget the classic The Battle of Algiers. So next time you’re desperate to fill your Netflix queue with something new and stimulating, why not explore Arab Film’s vast and varied collection. Visit http://www.arabfilm.com for more information.

Sound Off: What are some of your favorite Arab movies or moviemakers? Let us know in the comments section of the blog!

December 3rd, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 7

Film Movement

Imagine you’ve finally made it: After years of slaving away, your little indie film has made it to a big-name fest. You schmooze with industry types, promote the hell out of your movie and audiences love it. But after the festival crowds have dispersed, you find yourself with no idea how to get your movie seen ever again. This is where Film Movement comes to the rescue.

“Film Movement started because we were tired of reading about great films… that we never got to see because they either never came to a theater near us or came and left so quickly that we missed them,” says Stuart J. Litman, CEO of Film Movement. “We decided to find a way to bring award-winning independent and world cinema from the festival screens to our screens.”

Each month, Film Movement members receive an award-winning film, hand-selected by the company’s curatorial board, on DVD. Which means that, with help from this innovative company, all those great flicks that don’t happen to fit inside current mainstream trends are finally getting the audiences they deserve.

As a plus, many Film Movement selections manage to reach an even wider audience than the thousands of subscribers. “Lots of art-house films cannot or will not get foreign sales deals until they have a U.S. distributor lined up, so signing with Film Movement helps in that sense,” adds Litman. By serving both underappreciated moviemakers and undernourished movie lovers alike, Film Movement truly has indie cinema’s best interests at heart.

Though Film Movement does not accept direct submissions for feature films, moviemakers interested in submitting their shorts for consideration may send screeners to:

Film Movement
ATTN: SHORTS
109 West 27th Street, Suite 9B
New York, NY 10001

For more information or to subscribe, visit www.filmmovement.com.

November 20th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

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The Silent Movie Theatre

You might think silent movies are a thing of the past, only to be appreciated for their historical significance. According to Sammy Harkham, director of programming at L.A.’s Silent Movie Theatre, you’d be wrong. “I say, ‘fuck history.’ That’s the problem. Silent movies just seem boring if you’re unfamiliar with them, or had to sit through one in high school. But the great silent films haven’t aged a bit… and if anything are even more powerful when compared with much of work being made now.” Harkham, who is 26, and his 24-year-old brother Dan bought the Los Angeles landmark just this past June, reopening the theater to the public in early October.

The Silent Movie Theatre, which is the only silent film cinema in the United States, opened in 1942, just as the popularity of silent film was waning. As the Theatre passed from owner to owner, it has survived mainly through the hosting of private parties, since, as Harkham points out, “the audience for silents is pretty small obviously, but loyal.”

Through a careful business strategy, the Harkhams hope to reward this loyal fan base with a diverse screening of classic silent films, while branching out to a wider audience with the additional showing of films from the 1930s to the ’70s. It’s often said that the young have no respect for the past, but the Harkham brothers’ dedication to preserving this nearly-lost cinematic experience proves the exception to the rule.

For more information, visit www.silentmovietheatre.com.

November 13th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

Comments: 1

Rooftop Films

Just as in real estate, moviemaking is all about location, location, location—in terms of where you shoot and where you show. No group takes the aesthetic value of a screening’s surroundings more seriously than the folks at Rooftop Films.

Founded in the summer of 1997 as a way to screen little-seen movies, Rooftop has grown into a full-fledged moviemaking collective, offering touring events, moviemaker grants and equipment rentals. But, of course, screenings are still the main attraction—on rooftops from Manhattan to Montreal.

“At Rooftop, by literally bringing the underground outside, we relax the atmosphere of the screening and engage a much broader public than many festivals,” says Mark Elijah Rosenberg, Rooftop Films’ artistic director. “It’s more populist, and in this way we can introduce people to films and types of film they wouldn’t otherwise see.”

On November 9^th, Rooftop Films will hold a special event at St. Bartholomew’s Church in Manhattan, with a screening of Paul Festa’s documentary, Apparition of the Eternal Church, a live organ performance and a Q&A with the moviemaker. “I think the really cool thing about this event is that the film is visually rather simple, but it will be presented in this truly gorgeous, elaborate cathedral,” says Rosenberg of the venue. Though the event will be an indoor one, Rosenberg promises a unique experience nonetheless. “Even when we’re indoors, at Rooftop Films we look to create a dynamic synergy between the film, the space, the artist, the audience. Our presentation of a film is always unique and exciting.”

For more information, visit www.rooftopfilms.com.

November 6th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

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Pathé

Though American audiences might first think of roaring lions and cloud-draped mountain peaks when discussing classic studio icons, the first several decades of moviemaking were dominated by an emphatically crowing rooster, the trademark of pioneering French film company Pathé.  Founded by the four Pathé brothers in 1896, the company, then known as the Société Pathé Frères, soon became the largest film equipment and production company in the world.

Its first major coup occurred in 1902, when Pathé managed to grab the rights to the Lumière brothers’ patents and set about developing their own line of moviemaking gear.  By 1908, Pathé had revolutionized the cinema with the introduction of the pre-feature newsreel, which remained a staple of the moviegoing experience until TV news broadcasting took over in the 1960s.

Nowadays, Pathé remains at the forefront of international production and distribution; the British arm of the company still distributes over 90,000 historic newsreels.  In addition to its various subsidiary companies, the Pathé Gaumont archive supplies moviemakers with an impressive collection of classic film and news footage.  As distribution moguls continue to expand, Pathé has not only evolved with the changing landscape of the moviemaking world, but has also managed to carve out a unique niche for itself, as the guardian of cinematic history. For more information on Pathé’s many activities, visit their website.

October 30th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

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Film Forum

Multiplexes cater to the majority because mega-budget superhero films are guaranteed to gross more than a social commentary funded on a few thousand bucks. Both genres have their place in the world of film, but the latter has traditionally had a tougher time finding its audience. Luckily for then, New York City’s Film Forum opened in 1970—with 50 chairs, one projector and a dedication to independent film.Thirty-six years later, the theater’s heart is still in the right place. “We run one of the only screens in the United States devoted exclusively to festivals of classic films, director retrospectives, long-run revivals and restorations,” says Bruce Goldstein, Director of Repertory Programming. “We are able to take risks that commercial movie houses would not” says Film Forum director Karen Cooper.

The Forum’s detailed attention to programming is apparent in their upcoming series of premieres. For instance, the Forum will play host to the Soros/Sundance Documentary Fund: A 10th Anniversary Film Series for three days beginning October 26th. Not to be upstaged, new prints of classic films run throughout the year.

When asked to sum up the importance of the Film Forum in today’s movie scene, Cooper says, “We stretch the definition of ‘entertainment’ to include films that are politically- and socially-relevant.” With almost 5,000 members contributing to the Forum’s initiative, the countless new and restored prints of independent classics and should-be classics have finally found their audience.

For more information, visit www.filmforum.org.

September 25th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

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iklipz

If you’re worried that online exhibition means that your film will wind up lost amid the clutter of lip-synching teenagers and videos of Junior’s high school graduation, fret no longer. Founded by some of the industry’s finest, including former Paramount Classics co-founder David Dinerstein and Paramount President of Marketing Arthur Cohen, iklipz has emerged as a blessed alternative for moviemakers who want to get their work seen, but don’t want to battle the crowds on the festival circuit. “I started iklipz because I have always loved independent film,” says Cohen, the company’s CEO. “My professional background was of course in the studio system, but I share a passion for indie filmmaking and wanted to create a unique community in which everyone could share in this style of moviemaking by reaching the widest possible audience.”The concept is simple: Merging the accessibility of YouTube and the sleeker format of iFilm, iklipz provides moviemakers with a forum to display their work, free of charge. The site is geared toward the indie community and has developed a board of moviemaking elite, including THINKFilm’s Mark Urman, the Gersh Agency’s Arianna Bocco and recent MovieMaker cover boy Edward Burns. In addition to user-uploaded flicks, iklipz also screens hand-selected, hard-to-find “industry” films like Eric Byler’s Charlotte Sometimes. “I think iklipz is another sort of festival,” explains Cohen. “We can supplement or complement a festival because it is the filmmaker’s choice to post his work. Often, we are able to show great pieces that might have already traveled the festival circuit which can now call iklipz a home for the future.”

One thing is clear: Iklipz is riding the wave of the moviemaking future. For more information, visit www.iklipz.com.

September 15th, 2006 | Category: Exhibitor of the Week | By MovieMaker Staff

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