Rivalry Films

Tweeting to the Box Office: Twitter and Filmmaking

noreply@blogger.com (Anonymous) — Fri, 03 May 2013 19:24:00 +0000

http://www.gettyimages.com/detail/photo/adults-teenagers-movie-theater-phone-texting-royalty-free-image/155279346

Creating a film is a very long and arduous process that requires months if not years of planning, networking, selling, and backbreaking work. Once in a while, a talented filmmaker comes across an interesting and engaging script, is able to raise the funds to film through family and friends, and produces a well-made movie with new and cost effective technology. A great film is in the works, but what comes next? How does a talented filmmaker with a great cast and crew generate interest in their masterpiece?

Facebook has been a social staple for many years as a source for connecting lost friends, posting pictures of newborns and dogs alike, and a venue for checking up on former flames. Twitter on the other hand has emerged as a tool for businesses, projects and individuals to establish a brand and to connect to a vast audience. For filmmakers, Twitter has become a necessary platform for funding, marketing, advertising, and distributing movies.

According to DSLR Filmmaker, Twitter has allowed filmmakers the opportunity to break free from the confines of major motion picture studios and exhibit more control over their projects. It is a free and far reaching method of attracting a large following for a film. By creating networks and engaging audiences and industry professionals, an independent film can reach far beyond a few followers to make a substantial impact in the market.

The topic of Twitter as the newest filmmaking trend was the subject of a 2013 Sundance Film Festival panel. The website SocialTimes reported on the event, relaying the success that filmmakers have found in utilizing the social media platform. From promoting their films to even finding distributors outside the festival arena, Twitter has proved to be a lucrative piece in the filmmaking process. Using what Ava DuVernay has coined as a “riches in niches” mentality, fellow filmmakers have found marketing success in tweeting free soundtrack downloads, contests, and chat sessions with casts and crews. DuVernay also shared her personal twist of Twitter fate when queen of endorsements, Oprah Winfrey, tweeted about the filmmaker’s project, Middle of Nowhere, to her more than 18 million followers after sending her the film.

Thom Powers of Stranger Than Fiction compiled a “Top 10 Twitter Tips for Filmmakers”. His suggestions are simple and easy to implement for even the most novice social media users. His tips range from making a memorable Twitter name with a professional profile to utilizing hash tags, retweets and scheduled tweets to make the most of the platform. The critically important message across the board is to take advantage of the connections to industry professionals and audiences that are at a filmmaker’s “virtual fingertips”. This forum brings the most influential individuals in any industry together and makes them accessible to anyone. Making contact and establishing relationships can open doors and transition a film from amateur to mainstream at a limited cost financially.

As a soon-to-be graduate of the Entertainment Business Masters of Science program from Full Sail University, I have researched the effects of social media on successful film production marketing campaigns. I have discovered that in reality, Twitter is just one piece in a complete film marketing and promotion strategy, but it has become a vital component. Audiences are changing the way they view and connect with movies and expect to have the entire filmmaking experience at their fingertips. Adding Twitter to a film marketing strategy is not only beneficial, but is expected in the current market and can assist in projecting a film onto the big screen.

Many Hands Make Light Work: Alternative Financing Promotes Collaboration for Competition

noreply@blogger.com (Anonymous) — Sat, 20 Apr 2013 21:47:00 +0000

http://www.gettyimages.com/detail/photo/woman-reading-the-wall-street-journal-high-res-stock-photography/129286892

The film industry is very competitive and can be a difficult arena for individuals to begin and maintain a successful career. The stereotypes are those of backstabbing assistants, conniving talent, stubborn directors, power hungry producers, and lying studio executives. Although these horror stories can still be prevalent, the film industry is actually a tight knit group of professionals who work together and create communities built on respect and collaboration.

Small businesses such as production studios, talent agencies, distribution specialists, post production engineers, and special effects companies must establish themselves and band together collectively in order to compete with major motion picture studios. To start a small production company or film business, most entrepreneurs seek out traditional funding methods such as investors, bank loans, friends, and family. While these staples are ideal for expanding businesses with proven track records, it is substantially more difficult for novice companies to obtain financing.

Small businesses do have an advocate in the form of alternative financing groups that are dedicated to helping entrepreneurs realize their dreams of starting their own enterprises. One such supporter is the Association for Enterprise Opportunity (AEO), a membership based organization that aims to assist small business professionals obtain federal and private financing as well as technology and equity awards. Their tactics involve mentoring, advocacy, strategic planning and collaboration. Their mission is to create connections and build communities that foster small business growth and give normally rejected entrepreneurs a chance to realize their dreams. Assistance from AEO requires an interested entrepreneur to simply fill out a questionnaire stating what they are seeking and what type of community development focus their company is built upon. Whether it be environmental, women’s advocacy, people with disabilities, or veterans; AEO is committed to assisting and promoting companies who strive to better their neighborhoods. Their goal is to foster the visions of the “micro businesses”, those with fewer than 10 employees, who would otherwise be ignored or deemed inconsequential by banks and venture capitalists. They believe that funding these “micro businesses” builds strong communities and support systems that in turn build a strong economy.

The concept of supporting local growth in order to promote a competitive marketplace is also the mission of the U.S. Economic Development Administration (EDA). Their focus lies on providing job growth opportunities and strengthening local economies that can weather the changing times and grow to make a global impact. Their methods involve creating communities that bind together to support and encourage one another through investing in qualified entrepreneurs with established public and private resources. A stringent qualification procedure is in place to ensure that applicants strive to create strategic local and global partnerships that may compete on a global level, respect the environment and assist underserved communities.

The Association for Enterprise Opportunity and the U.S. Economic Development Administration both pride themselves on developing local and underserved communities that can compete on a larger and even global scale. They promote collaboration between organizations in order to make an impact and grow the economy. Their funding requirements and sources of money are fairly vague however and could appear confusing to an entrepreneur looking for an alternative financing partner.

Teamwork and collaboration have long been the principals for survival. Whether it is military strategies, sporting events, film productions, or business creation; teamwork is at the core. There are many funding institutions that see the value in smaller and less experienced entrepreneurs as a piece of the larger entity, even when dismissed by standard financing associations. In an industry such as film where success is reliant on “who you know” and the names of those who support you, starting a business follows a similar concept. In the end, if the project, whether it is a film or a business, speaks to an audience, a strong and connected support system can assist in seeing ideas become reality.

My Personal Lessons from Business Experts

noreply@blogger.com (Anonymous) — Sun, 31 Mar 2013 01:38:00 +0000

http://www.gettyimages.com/detail/photo/global-business-royalty-free-image/155147693

Preparing to launch a new business venture and preparing to produce a film share a very similar process. Factors such as economic climate, competition, demographics, and the people who make up the team all have to support the basic concept of the project. Not only do these components have to be solid in order to approach potential funders and investors but the ideas must be presented in an efficient business plan. This document acts as the voice of a project and is a reflection of the competency and vision of the entrepreneur.

Business expert Akira Hirai writes in his blog post “Ten Questions Every Business Plan Must Answer” about the importance of establishing a management team that impresses funders with their experience, ideas and overall ability to interconnect with the brand. Hirai states that the management section of a business plan is often the most highly scrutinized portion and recommends highlighting the strengths of the team. In my specific business plan, I have put substantial time and consideration into the type of individual qualities I would want to represent my brand.

Hirai supports this concept in another blog post titled, “Finding Helping Hands for your Small Business”, by advising entrepreneurs to look for high quality employees that can drive the business even when resources are limited. Employees that perform “above-average” can bring in twice the revenue that an average worker can and are worth the investment. I have made sure to highlight the fact that I desire experienced, hard-working and committed employees and I am willing to extend the resources needed to attain them. Similarly to how a cast of a film can affect its box office earnings, the talent of a business cast can drastically affect its success.

In addition to paying attention to what I am saying about my company and who I want to help me build it, I am also scrutinizing how I am conveying these needs. Small business expert Barry Moltz relays the importance of keeping verbiage clear and concise in his article “What Not to Say in a Business Plan”. I admit that I have a tendency to be overly verbose in my writing. While this “story-telling” style may be necessary in a screenplay, it is not appropriate in a business plan. I have consciously limited my word count and have gone through multiple times with the purpose of removing excess and unneeded information. I have also focused on formatting in order to be more appealing to the reader. By shortening my paragraphs and adding space between idea groupings, I have created a less intimidating document.

Most importantly, I have taken Barry Moltz’ advice from his blog post “Business Ideas are Meaningless” and have gone through and modified my business plan as my company has progressed. He explains that a plan is just ideas and can be molded repeatedly in order to provide the most impact. My mentality is, if the first execution is unsuccessful, I must modify the plan, shape the ideas and try again.

Creating a business plan is a daunting yet vital undertaking in the business creation process. A well-written document that highlights the appropriate features of a company can garner the attention, respect and potentially the resources of investors. Just as a film package must grab the attention of funders with facts, figures, projections, and a complete overview of the project, a business plan must include the same requirements.

The Business of Film: Expert Opinions on the Importance of a Plan

noreply@blogger.com (Anonymous) — Sun, 10 Mar 2013 18:00:00 +0000

http://www.gettyimages.com/detail/photo/business-strategy-royalty-free-image/157478689

Film is a world of fantasy and storytelling where moments are created through ornate descriptions. A film production company however should be a well-oiled business machine that acts as the bones to allow creativity to flourish. Any business venture requires passion and drive, but without intelligent planning, there is limited chance for success. There are many experts who believe they hold the recipe for turning an idea into an investor’s goldmine using a strategic and well-written business plan.

Akira Hirai is the founder and CEO of Cayenne Consulting, which employs experienced management professionals and business plan developers from across the nation to assist entrepreneurs in writing successful proposals. Hirai himself has over 20 years in the industry and has opened two successful Internet companies. On the other side of the boardroom table, he has worked in management positions for various business development and financial service companies.

In Hirai’s blog, Hot Sauce, he discusses the “Ten Questions Every Business Plan Must Answer”. He explains the importance of addressing these key points when writing a proposal in order to garner a second glance from an investor. What is the problem, what is the solution, how much money does it cost, and who is going to solve the problem in a cost efficient manner? These questions must be answered and as efficiently as possible. Hirai expresses the importance of assembling and presenting a stellar management team. He relays, in his experience on both sides of the decision-making process, how investors place the most weight on the individuals chosen to carry out the mission at hand. His philosophy is “a good team can fix a mediocre idea, but a mediocre team is likely to fail even if they are pursuing a great idea”.

Akira Hirai also speaks about the importance of eliminating any verbiage that does not fit into his ten-question model, which is echoed by author and small business expert, Barry Moltz. As an advisory board member of Angel Capital Education Foundation, he has reviewed hundreds of business plans in an attempt to allocate funds to deserving and appropriate projects. He has put his expertise in print, writing four published books concerning building a successful business.

Moltz wrote in venture capital resource, VC Experts, about the importance of keeping language simple. Industry specific verbiage, clichés, and excess lingo only cloud the message and burden an investor with unnecessary time and effort to wade through the proposal. He explains how, many times, excess language acts as a mask to a poor conceived idea and investors are skilled at spotting these inadequacies.

No matter the business, the planning stages are vital for any degree of success. In an industry such as film where vivid scripts and elaborate sets are expected and praised, seeking funding and support for a production company requires restraint on those creative instincts. The great part about the film industry is the fluid way business and creative passion can mix to produce art.

Interactive Film Marketing: Creating A Virtual Movie Experience

noreply@blogger.com (Anonymous) — Sat, 23 Feb 2013 23:59:00 +0000

Movie audiences are continuing to flock to their local Cineplex in record numbers despite a still struggling economy and increased ticket prices. In this day in age, film marketing has bypassed archaic print and radio advertising and jumped whole-heartily into online marketing campaigns. Audiences expect a film to have a website, Twitter and Facebook account; but just as the industry itself constantly evolves, so does the audience, and film marketers cannot afford to fall behind the times.

In true Hollywood fashion, as the movies have become grander, more expensive and interactive, so have the way they are advertised. Interactive film marketing has gone beyond social media connections, sneak peaks, and exclusive contests and has evolved into virtual movie experiences.

http://www.nytimes.com/imagepages/2012/03/19/business/HUNGER4.html

Daniel Frankel of Paid Content discusses the success 2012’s box office hit, The Hunger Games, had in creating a virtual movie experience that engaged their target audience and changed the face of digital marketing. Knowing the imagery and elaborate descriptions the book describes of this future planet, Lionsgate Studios’ strategy was to invite people inside this world. They created virtual communities on Facebook, Twitter and YouTube that gave their fan base the chance to travel within the pages of their beloved book and experience the world for themselves. This caused a viral digital dispersing by fans that allowed The Hunger Games to open to a staggering $153 million.

The Hunger Games is not alone in creating worlds that digitally engage their fans into their interactive film marketing strategy. iMediaConnection reports on the virtual experience that 2012’s Prometheus created by teaming up with major retailers such as Verizon and Internet Explorer to help transport their target audience into their created distorted reality. This innovative campaign not only propagated the film, it brought a new dimension to the standard sponsorship. Instead of large display advertisements or glaring product placement, this campaign brought sponsors into the experience in an intelligent and seamless manner that is not assaulting to the audience.

Digital marketing is a constantly changing discipline that studio executives and filmmakers find difficult to completely grasp. Although interactive film marketing has changed the standard media platforms, the principles have remained the same. It is vital that studios facilitate a connection between their project and their target audience in order to entice people into the theater. Film audiences across all genres expect visual interest and excitement at the movies and a similar look and feel is assumed in marketing efforts.

Film has a magical ability to transport an audience to another world for a period of time and film marketers are beginning to incorporate this same technique in their advertising campaigns. By bringing the audience into an engaging space and time, marketers are succeeding in leading them into the theater and allowing film to do the rest.

Search Engine Optimization and Independent Films: Mixing Technology with Art

noreply@blogger.com (Anonymous) — Sun, 10 Feb 2013 22:18:00 +0000

http://www.pbs.org/mediashift/2010/02/how-digital-marketing-helped-avatar-break-the-box-office039.html

Film publicity has had many faces over the last century from posters lining busy streets, large glowing marquees in front of theaters, illustrated newspaper advertisements, and elaborate movie trailers. The advance of the Internet led to full trailers with extra features posted online and the utilization of social media to promote films. Filmmakers have taken digital marketing one step further by incorporating Search Engine Optimization or SEO into their marketing campaigns. A practice once reserved for products and businesses, SEO has enabled a film’s website to appear in relevant searches, and in an age where everything is online, it is vital that filmmakers master this discipline.

Independent films famously operate on limited budgets, often times inhibiting artistic expression. When filming is concluded, there is usually very little money left over to put towards marketing and advertising. If used properly, SEO allows a film’s website to rank high on relevant searches and effectively gain attention, virtually free of charge. According to Zach Coffman from the Sundance Film Festival, it also tells potential moviegoers that a site is trustworthy and legitimate by Google (or Yahoo and Bing) giving it their “priceless stamp of approval”.

In a separate interview with Marketing Pilgrim, Zack Coffman relays that the most important feature in using SEO to market a film is to fully understand whom the target audience will be and therefore what keywords they would input into a search. The nature of independent film involves a very focused audience and it is imperative that a site grabs and holds the attention of the viewer. If it fails to do this, the competitor’s website might.

Finding the appropriate keywords that will grab the audience can be generated by a keyword tool such as Google AdPlanner or be purely instinctual. Knowing the audience and their searching habits is key and the rest, according to Brick Top Productions, is ensuring the words are evenly spread throughout the site and remain relatively masked so as not to confuse or overwhelm the reader.

The independent film industry is built on raising awareness and creating communities around a film based primarily on word of mouth or “buzz”. With more and more individuals choosing the Internet to view films, it is only natural they use the same medium to research, find interesting projects and talk about them as well. Staying creative and experimenting with new ideas and techniques is important for filmmakers to do when making their films and their marketing techniques should be no different. What makes this pairing special is that the freedom and creativity of online marketing tie closely with the spirit of the independent filmmaker.

Self-Distribution: Not Just for Amateurs Anymore

noreply@blogger.com (Anonymous) — Sat, 26 Jan 2013 01:59:00 +0000

http://www.gettyimages.com/detail/illustration/movie-film-and-canister-royalty-free-illustration/110873469

There are countless stories in the entertainment industry concerning the difficultly in, not only making a film, television series, record, etc., but also the struggles in finding a company to distribute the final product. Blood, sweat and tears are poured into these works of art only to be shelved and never seen by the masses. In the film industry, big named distributors are primarily interested in safe projects by well-known filmmakers and will take a hefty fee and ownership rights in exchange. Even venues once loyal to the independent artist, such as the Sundance Film Festival, have reverted to a more corporate structure in the past few years. Recently however, the phenomenon of online marketing, funding, and viewing of films has created a venue for online distribution as well. The concept is quite simple in that a platform is provided for filmmakers to create and interact with their own fan base while maintaining creative control and rights to their projects. It also saves a fair amount of money in the process, considering how expensive it is to produce a film in the first place.

Print on Demand (POD) companies such as Kaltura and CreateSpace provide a safe, connected and respected venue for filmmakers to create a virtual as well as tangible product for the public. Filmmakers are also encouraged to speak and sell directly to their target markets through websites and social media forums.

One such social media tool in the self-distributor’s arsenal is Twitter. The site has become a necessity for all independent filmmakers looking to distribute their own material without the backing of a major studio. Kevin Smith, infamous Indie director and sometimes actor, has brought this issue to the forefront. He famously denied all studio funds and backing for his 2011 film, Red State, in order to maintain creative control by distributing the film himself. He has 2.3 million Twitter followers (myself included) that follow his work and respect his craft. John Sloss of Cinetic Media and a close friend of Smith’s told The Hollywood Reporter that Smith has always said “he doesn't have to work for the studios, because he works for his public”. Studio Daily printed a statement Smith released describing his frustrations with the fact that marketing and distributing films cost twice as much as actually producing them, especially since he had already cultivated the audience on his own. His goal is to educate other filmmakers on learning to work outside the traditional methods. This grassroots mentality has led other well-known and established artists such as comediennes Louis C.K. and Aziz Ansari to sell concert tickets and promote projects solely through their social networks.

The major studios are taking a queue from independent filmmakers and formulating ways to utilize social media in their distribution techniques. The Hollywood Reporter describes a panel discussion at the 2011 Tribeca Film Festival led by Paramount Digital Entertainment president, Tom Lesinski. The panel examined the importance Twitter and Facebook hold in bringing films to not only theaters, but also homes and mobile devices globally. The social media activities of celebrities are even being tracked in order to dissect the methods they use to interact and sell to their fans.

This shift in tactics has not gone unnoticed by industry staples. Mashable reports that even the aforementioned Sundance Film Festival announced this year that they have partnered with POD, Reelhouse, to allow their participants to self-distribute online once the festival is over. If apps, games and music can find distribution success in the virtual world, there is no reason that film should not be quick to follow.

The Oscars Shed a Light on Sundance Darling

noreply@blogger.com (Anonymous) — Wed, 16 Jan 2013 03:25:00 +0000

Every year at this time, film enthusiasts from around the globe begin making predictions, planning viewing parties and criticizing Academy members for overlooking their personal favorite as the Oscar nominations are announced. While most of the nominees come as no surprise, there are always a few shockers that are thrown into the mix. Many times, films and actors are nominated that have received very little publicity and recognition or had scarce viewing opportunities due to limited distribution. This year, the imaginative and powerful independent film, Beasts of the Southern Wild, made its way into the hearts of the Academy while remaining relatively unnoticed by the rest of the world. The LA Times reports on the struggles the film encountered with unknown and inexperienced actors relaying the vision of relative newcomer, Behn Zeitlin. Beasts was made on a $1.5 million budget and struggled to find appropriate crew and equipment. Worldwide distribution was not considered to be a reality by the director and producers when they entered the 2012 Sundance Film Festival until the film and its breakout star, 8-year-old Quvenzhané Wallis, captured the hearts of the jurors, the audience and coincidentally, Fox Searchlight Studios.

http://www.imdb.com/title/tt2125435/

Katey Rich of Cinemablend.com describes the magic Beasts of the Southern Wild created that led to a 6 minute standing ovation, the Grand Jury Prize and executives from Fox Searchlight to offer a distribution deal before the festival even ended. Fox Searchlight has a reputation for bringing darling independent films such as Little Miss Sunshine, which would ordinarily go unnoticed, into the lives of the public. Beasts was released June 29, 2012 in limited markets to fair reviews and is still an unknown to mass audiences.

While everyone loves an underdog, many times those stories cannot be made or viewed by the masses due to the difficulty in obtaining a distribution deal. IMDb revealed a total of 110 feature length films were entered into Sundance in 2012 with only 30 securing deals with studios for distribution, many only limited releases. Stories such as Beasts of the Southern Wild showcase how important it is to have a studio sign on to distribute but simultaneously demonstrates how easily they can still slip under the radar of the general public. In a statement I very rarely admit and will certainly deny in the future, the members of the Academy shed a beacon of light on this beautiful film. Where it would otherwise have gone unnoticed, the usually elitist group will allow this small and scarcely distributed film to enter the lives of audiences around the world.

Seeking Advice: Navigating the Legal Terrain of Business

noreply@blogger.com (Anonymous) — Sun, 16 Dec 2012 20:35:00 +0000

The legal aspects of starting and maintaining a successful business can make or break a company. Law professionals from across the nation have their own secrets to success, some are good and others border on illogical. When listening to the advice of these various attorneys, they all appear to sing a similar anthem of being prepared, doing the appropriate research, and when all else fails, being flexible in this perpetually changing discipline. In delving into the side of starting a business that terrifies me to my core, I sought the advice of practicing attorneys who were sharing their pearls of wisdom via legal podcasts to ease my fears, examine the pitfalls and gain some valuable knowledge on the legal properties of business.

The first podcast appeared on The Un-Billable Hour program and was titled Women Rainmakers & Legal Marketing and featured renowned female attorney Teddy Snyder, Esq. Ms. Snyder can pride herself as a member of the influential legal group, the American Bar Association Women Rainmakers, which aims to assist females in business. Her most poignant argument was the importance of being appropriate. Whether it was marketing, social media tactics, or even using the “gender card”, the situation and audience determines the strategy she exhibits. Taking advantage of the hand you are dealt in the gender arena was an interesting perspective. Being a woman attempting to break into the entertainment industry, I am aware that the “glass ceiling” is still prevalent, but it is encouraging to hear that women in business are being urged to use the fact that they are female to their advantage and as a tool for success. Having women in the courtroom and the boardroom is an effective strategy, when appropriate, that can demonstrate diversity and soften clients’ reputations, which can benefit both men and women. She also discusses utilizing social media such as Twitter and LinkedIn to reach out to younger clientele while ad benches at bus stops are still being employed for an older demographic.

Along the lines of the importance of effectively utilizing social media, attorneys Antigone Peyton and Ernest Svenson discuss the benefits and dangers of conducting business under the ever-watchful and never-forgetful eye of the Internet on the podcast Social Media and Lawsuits on the Lawyer2Lawyer program. They discussed the prevalence of social media in recent court cases and the damaging effects Twitter updates and Facebook posts can have on a person’s future. The truth is, the Internet holds information indefinitely and even when posts are supposedly deleted, they remain in cyberspace and can be retrieved with limited effort. The duo expressed the importance of learning how to use social media as a tool that can further business, gain clientele and share information. It is vital in this day in age that a business sets up and maintains a social media presence but it is equally important to understand how to properly capitalize on this tool and not unknowingly drive a company and its reputation into an inconsequential entity. This “E-Discovery” as they reference, can sidestep lawsuits, maintain clients and protect against defamatory claims, which can translate to the world of entertainment and celebrity. Celebrities have found themselves in hot water by posting defaming comments on their personal pages about individuals, that although were removed, still managed to come back to harm not only the pocketbook but the reputation of the star.

Entertainment attorney Gordon Firemark discusses the challenges of representing unpredictable and demanding superstars in the podcast Entertainment Law & the Challenges of Celebrity on the Lawyer2Lawyer program. Doing business in the entertainment industry surrounded by celebrities, whether in a legal, managerial or production capacity, is not as glamorous as it may seem. Celebrities reside in what Firemark describes as a “fish bowl” where their every movement is being examined. Those that stay out of the limelight are never heard about in the tabloids while others create chaos to feed a demanding ego. They often feel as if they are above the law, which has led to many producers instituting insurance policies to protect a picture from an unstable talent. It is vital when starting a business in the entertainment industry to be aware of the potential hardships concealed by the fantasy. Getting swept up in the glamour and not remaining vigilant to potential scandals that could ruin a celebrity’s reputation can leave a hardworking and faithful employee unemployed.

Working in the entertainment industry requires a lot of patience, the ability to multi-task and always being prepared for anything that comes along. The passion for the industry is what creates the survivors. Coupled with knowledge and a whole lot of bravery, a successful career can be forged.

Hollywood Rights: Recent Legal Cases in the Film Industry

noreply@blogger.com (Anonymous) — Tue, 27 Nov 2012 23:39:00 +0000

Creating a brand is a long and arduous process that involves calculated maneuvers and strategic actions. Film has long been a financial gold mine for product developers and advertisers as it is a medium that can spark ideas for new and moneymaking product endeavors in front of an audience of millions. Recent legal controversies concerning the landscape of branding in film raises concerns about how the two can coexist in a mutually beneficial manner and avoid legal dilemmas.

There has been an emergence of court cases involving brands suing studios over unlawful portrayal of their products in films. Eriq Gardner of The Hollywood Reporter discusses this spectacle in his article "Hollywood’s IP Wars: Inside the Fight Over Trademarks". He discusses Anheuser-Busch suing Paramount Studios over the amount of their iconic beer, Budweiser, Denzel Washington consumes in the recent film Flight while the estate of famed author William Faulkner is pursuing legal ramifications over two lines said in Sony Pictures Classics Midnight in Paris. Gardner discusses the basic definitions of Trademark and the appropriate and lawful methods for including brands in film as well as the many ways producers get away with not paying for the use of a product. In short, it is free advertising and in many cases, it is the brand itself that pays to have their items on the big screen. The tides turn however when a negative image comes with the publicity, as in the case of Flight. Recent press concerning airline pilots drinking in abundance before a flight coupled with the iconic brand left Anheuser-Busch concerned with the image their consumers might conjure. I agree with Gardner’s perspective on the over-saturation of trademarks on everything from names (i.e. Beyoncé and Jay-Z’s daughter, Blue Ivy) to the sole of a shoe (i.e. Christian Louboutin). While producers need to be wary and ethical about using brands in their projects, a slippery suing slope is being created and freedom of expression is being tested.

Film phenomenon The Lord of the Rings is also in the news and not due to the anticipated release of The Hobbit. The estate of the author of the novels, J.R.R. Tolkien, is suing the producers of the series due to what they believe is unauthorized use of the iconic name. Matthew Belloni discusses this in his article "Tolkien Estate Sues Warner Bros. Over 'Lord of the Rings' Slot Machines". The estate is arguing that the initial contract forged over a decade ago was for “tangible merchandise” and did not extend to any digital or electronic mediums. An online slot machine game is, according to them, a direct violation of this agreement in addition to allowing Tolkien’s name to be associated with gambling, which his loyal fan base would see as derogatory. This case is a stellar example of why careful consideration and focus on not only the present but also the future is so important. Online games were around 10 years ago and the original contract negotiators should have forecasted to the future and included technology provisions. This oversight could potentially allow them to miss out on millions of dollars as well as an additional $80 million in damages the estate is seeking.

Cult favorite comic creator Stan Lee produced some of the most well recognized characters of all time but who owns them is still undecided. In the article "Stan Lee Media sues Disney: Claims copyrights to Marvel characters", Ted Johnson explains how when Stan Lee transferred the rights to his company along with his beloved characters, a verbal contract with Stan Lee Media may have superseded a written contract with Marvel and therefore left them out of the approximate $2 billion that has since come Marvel’s way. Stan Lee Media believes they have the legal rights over these characters and the profits they procured due to the verbal contract with Lee. This case is a great example of making sure to get everything in writing and entering all deals with a sense of hesitancy and the need to protect ones-self. Stan Lee Media trusted their namesake and a verbal agreement without thinking realistically about protecting themselves, the power of money in negotiation, and the nature of the business. Stan Lee was persuaded by a better deal and his former company was left with no contract, no money and no Spider Man.

There is an increasingly popular trend of needing to put an owner’s stamp on everything and the landscape of cinema is being affected. We live in a world of brands and labels and film is often times a reflection of our lives, but accuracy is tarnished with blurred out soda cans, fake labels and generic everything. The two facets, brands and movies, need more accuracy, stronger methods, and concrete laws in order to protect themselves without destroying the art of film.

Where is the Limit? : Celebrities peddling the wares of every product in sight

noreply@blogger.com (Anonymous) — Mon, 12 Nov 2012 00:57:00 +0000

Once upon a time in a Hollywood long, long ago, advertising was a thing of class and strategy. When a movie star or singer attached their name and identity to a product or advertising campaign, it was done articulately with intense consideration. If you wanted to know what product Marilyn Monroe wore in bed, it was expressed with thought and creativity; “well Chanel No. 5, of course”. In today’s society with the rapid emergence and market saturation of reality television and gossip magazines, it seems that celebrities are hawking anything and everything they can get their hands on. The growing popularity of social media forums such as Facebook and Twitter have now made these celebrity endorsed product campaigns increasingly popular. The question that lingers is why is THIS celebrity endorsing THIS product and why should it matter to me? Does Peyton Manning really drive a Buick? And if so, what makes him an expert in luxury automobiles to the point that we should spend thousands of dollars upon his recommendation? In the 1950’s, it was not a far stretch to believe that Ms. Monroe, a sexy and fashionable icon would sleep with nothing more on than a few drops of the equally fashionable and iconic perfume. Well-placed ads in magazines and billboards displayed a rhyme and reason to the product and celebrity pairing. Today however, every time I log onto my Twitter account, I have celebrities posting about how they “Just ate the best (insert awesome product here)! Everyone go buy a (fill in the blank with awesome product)! #ad”. It is sneaky and manipulative and frankly, makes very little sense.

The most current trend is taking these tricky tactics one-step further with celebrities tweeting and posting pictures of themselves in front of well-placed products in order to incite purchasing purely on assumption that they endorse it. No Twitter characters are spent promoting the product. Rebecca Leffler of The Hollywood Reporter explains that this new tactic is designed to bypass long-term contracts and messy connections between products and unpredictable and media fodder celebs. This short-term relationship allows a product line to escape any potential backlash from an artist scandal while still creating a brand linked to a star personality. The stars (no matter their placement on the “ Hot List” hierarchy) are being paid overtly large amounts to link themselves and their 140 characters or Instagram accounts to a product. Christina Rexrode of The Huffington Post reports that Khloe Kardashian collects upwards of $8000 per promoted Tweet, no matter the product, its affiliation, or potential competition to her own brand.

http://www.eurweb.com/2012/05/kim-kardashian-does-she-endorse-any-products-that-arent-dubious/

While celebrities have always garnered attention and amazement from the general public allowing companies to sell products and gain instant credibility when linked, there is an apparent lack of cohesion present in today’s celebrity endorsements. There is not enough thought going into why certain products should be promoted by specific celebrities. Furthermore, there is a serious lack of responsibility on the part of stars on which products to endorse. When lawsuits for the Kardashian credit card, Kardashian endorsed Sketchers and Kardashian endorsed Quick Trim all appear, the consumer needs to be aware of the possibility that money, and not quality or even personal usage, is what drew the celebrity to the product.

“Momagers”: The new breed of agent (Dads welcome!)

noreply@blogger.com (Anonymous) — Sun, 28 Oct 2012 19:27:00 +0000

I had a recent discussion with a group of friends about what we would do if we were famous. Would we sing or act, what would our image be, and who would be in our entourage? I had never entertained the idea of being famous as my passion has always been behind the camera but I played along. When it came to my entourage, I thought long and hard from a professional standpoint on whom I would want in my hypothetical professional inner circle. My fashion forward best friend would be my personal stylist, my high school ex-boyfriend and recent law school graduate would handle business affairs, and my friend who heads the social media department for a major New York City advertising agency would handle branding and marketing. When I came to who in my life would fill the role of manager, my instinct was honest and alarming. My father! He always has my best interests in mind, is great with connecting and talking to other people, has the business training and education at the highest possible level, is hyper-organized, and is the one who sparked my passion for film and television. Although the other relationships could be complicated and potentially compromised in my imaginary movie star life, the one with the most at stake would be with my father. In the close and important relationship between manager and artist, I could see the potential disasters that could result from employing my parent as my manager.

http://jezebel.com/5707501/how-kris-jenner-may-be-the-richest-reality-star-of-them-all

“Momagers”, and in my purely theoretical scenario “Dadagers”, are the newest breed of managers. New artists breaking into the industry are looking to their closest family members to protect their professional and personal interests while trying to brave an uncertain arena. While in many situations this multi-dimensional relationship could be beneficial, it could also be disastrous to a career and a family. It is a too often relayed story of moms and dads who started with the pure interest of helping their children reach their dreams only to end up exploiting them for the sake of the brand and their own personal fame. There are the cases of fame seeking mothers and fathers making business decisions that promote themselves and solidify their own fortune such as Kris Jenner. Sara Farb of women’s lifestyle website SheKnows discusses the Kardashian family matriarch and the use of her children as a vehicle to her own stardom. Her desire to change her name back to Kardashian in order to link herself with her famous offspring, famously calling her own daughters “fat” and consistently promoting her own QVC line. Then there are the “Momagers” who do neither of the functions incorporated in the title. No protection of personal or professional interests, promotion of a dangerous lifestyle, exploitation of funds and image, and general abandonment as is the in the much publicized example of Dina Lohan and her actress daughter and client, Lindsay. There is also the story of a great manager who neglected the parent-child relationship that is so vital to any young person, a la the stereotypical “stage mom”.

Not all “momagers” and “dadagers” are cautionary tales of ruined careers and strained relationships. There are examples of parents who exhibit genuine interest in their children’s career and well being while still cherishing the role of a parent. Take Jamie Spears, father of pop icon Britney Spears as an example. Radar Online describes that in 2007, he was witness to his daughter suffering a mental and physical breakdown. After seeing his child slip into darkness, he took control. He gained guardianship of Britney and all of her assets from the court and asserted himself as her manager. He did this, not for personal gain, but to save his daughter’s career and ultimately her life. He controlled what appearances she attended, what business decisions she would make and who she kept in her life. His management role holds a fair amount of the responsibility of resurrecting her career and keeping her life on a safe and successful path. The duality of his management philosophy is truly what a manager should strive to attain.

In the end, there are many more stories of successful and loving parent/child-manager/artist relationships then there are negative. I would honestly and completely place the future of my career and life in the hands of my father. I believe that his business savvy would open doors and create opportunities while his unconditional love and support would breed encouragement. I am, however, very glad that my path has led me behind the camera to save me from having to make that decision.

Negotiating in Hollywood

noreply@blogger.com (Anonymous) — Sun, 30 Sep 2012 20:29:00 +0000

My boss is a hard-hitting Hollywood executive who has spent the last two decades in boardrooms and on film sets. Every day for him is a negotiation whether it is starting a new business, securing investors, buying a car, or convincing his lovely wife why he needs a new $7,000 video screening monitor. His life has led to many different types of negotiations and has found him on varying sides of the table. He has been bullied, the victor, the mediator, and the loser. More often than not however, he prides himself on being able to listen carefully, communicate effectively and maintain relationships in an industry where it is all about who you know. I sat down with my mentor and asked him about some of his experiences in the negotiating arena and the lessons he has learned along the way.

Q. You have been negotiating for the majority of your career with everyone from movie stars to high-powered studio executives. How do you separate the people from the problem?

A. The industry has changed a lot from when I first started twenty years ago. Emotion had no place in negotiation and the “Suits” were tough. Even when I was first rising up the ladder to an executive level, I had no tolerance for the personal side of an argument. Negotiation has really changed in the last decade or so and as I have moved to manage my own company, I see the importance and benefit of being able to address and respect the emotions of my counterpart. I now attack every negotiation by first breaking down the problem into individual pieces in order to view them separately. This allows me to look at the facts of the discussion so that emotions can be addressed and removed. There is some degree of sympathy that must remain in even the toughest negotiations in order to keep discussions moving and keep relationships in tact. I approach this with a lot of ‘I understand’ and asking questions.

Q. How do you handle bargaining based on positions as opposed to principles and interests?

A. Logic and research {objective criteria} (Fisher, Ury & Patton, 2011, p. 86-89) are my main weapons when addressing individuals who insist on digging into their position. Logic, reason and questions allow irrationality to be brought to light and positions debunked.

Q. Give an example of how you work towards mutual benefit when negotiating a deal?

A. Establishing a common foundation is key when reaching a mutual agreement. That foundation can be built on new ideas and evaluated until an agreement is reached. In the film industry, middle ground can be hard to find and rampant egos can prevent vision, but in the 13^th hour stuck in a boardroom, a middle ground can usually be seen.

Q. Has anyone ever used “dirty tricks” with you whilst negotiating? How did you react?

A. I have no tolerance for dirty tricks, even in an industry such as Hollywood where they are used daily. My confidence allows me to call someone out on their tactics. I am not opposed to telling someone that I know they are acting unprofessionally and that negotiations will cease until a professional standard is met. I am never afraid to walk out of a negotiation.

Q. Do you develop a Best Alternative to a Negotiated Agreement (BATNA) before you enter a negotiation in order to have that confidence?

A. Before every discussion, I make sure to look at all of my options and courses of action. I am old school Hollywood in that I am always looking for the better deal and know what they are before I agree to anything.

* My boss and subject of this interview requested to remain anonymous.

References

Fisher, R., Ury, W., & Patton, B. (2011). Getting to yes: Negotiating agreement without giving in.

New York, NY: Penguin Group

It Is As Good A Guess As Mine: Film Forecasting

noreply@blogger.com (Anonymous) — Sat, 15 Sep 2012 20:34:00 +0000

http://www.gettyimages.com/detail/illustration/question-mark-royalty-free-illustration/CC000552

The film industry is like any other in terms of risk, profitability and revenue generation, but the research leading up to that final decision to pull the trigger is very unique. As NewYork Times columnist Adam Davidson explains is his article “How does the film industry actually make money?”, film deals with so much more guess work than any other industry and requires a sense of comfort in the unknown. Screenwriters, producers and financiers try to look at what is currently popular, which actor is causing the most noise and what book is a current best seller, but these factors still do not guarantee an audience or profits. Market research and audience screenings can help tweak a film in post-production but the movie has already been made. There is no re-do when millions of dollars and countless resources have been utilized. Even a big named star in a CGI filmed, action packed movie based on a screenplay from the most popular book of the decade does not promise a blockbuster. There is very limited ability for producers to do any forecasting for the future or analyzing of the past, even with the “perfect” combinations, and the industries inability to break-even or make a profit verifies this point (Davidson, 2012).

A variance in this profit forecasting dilemma appears with the sense of security that comes with a sequel. A follow-up film to one that brought audiences to the theaters allows producers to forecast more accurately and therefore spend more money. A set cast, cohesive crew, and a style with proven success helps to alleviate some of the immense risk that comes with filmmaking. The most successful of this strategy comes from the multi-million dollar blockbusters packed full of action and good-looking people. Danielle Kurtzleben discusses why this method is so effective in her article “Why sequels have taken over the box office”. Sequels allow an audience to reconnect with favorite characters, save time on casting and filming, as well as the ability to reach an international market where the language barrier can be diminished by car chases and impressive graphics.

Movie sales are dwindling more every year due to at home viewing opportunities and Internet dominance and the film industry is working with no power in prediction. Investors are now looking towards other areas of entertainment, including the Internet and the surprising resurgence of television (Davidson, 2012), but the dilemma is the same. There is no way to know where an audience is going to spend their money and a human being’s fickle nature leads to huge risk and no guarantee of reward. The industry is tough though and has survived wartime, depressions, recessions, and every other economic climate imaginable. Film is steeped in history, glamour and intrigue and although the factors that contribute to that magic are unpredictable, when everything comes together and an audience responds, the rewards can vastly outweigh the risk.

Funding Through the Crowd

noreply@blogger.com (Anonymous) — Thu, 30 Aug 2012 17:42:00 +0000

My morning routine, much like that of many other digital-aged Americans, consists of a cup of coffee coupled with my Twitter updates. I start each day with CNN, Variety and ESPN as well as the latest from major motion picture studios and independent houses alike. In the last year, I have noticed a trend with smaller studios in using these social media platforms to look for and secure funding for their films. The publicity for a project in the early stages paired with a search for investors is a drastic change from the day in age when money was not discussed with the general public.

The money raising process has always been a difficult one for independent filmmakers and new, creative, digital, and public methods are beginning to become the norm. This concept is being dubbed “crowd-funding” and allows average people the opportunity to become personally connected to a film and therefor invested (emotionally as well as financially) in a project. As Jeff Steele describes in his article “Independent Films’ New Path to Financing”, this phenomenon speaks to two basic human instincts; “greed and self interest” (2010).

http://www.gettyimages.com/detail/photo/riotous-drinking-party-in-public-bar-high-res-stock-photography/84170446

Documentary filmmakers have been utilizing this concept in order to circumvent a traditional donation process, which can be lengthy and extensive. Although this method is becoming more popular for smaller projects, it is not 100% effective with the larger undertakings. The amount of time it can take to raise a substantial sum through social media compared to going through the traditional grant process is influential. YouTube and company blogs are also being used to showcase film trailers, up-to-the-minute updates, and personal stories about cast, crew and filming in order to bridge the personal gap that many projects face in finding funders.

Instead of dealing with groups of face-less investors that have no personal interest in a project, only financial, many filmmakers are choosing to appeal to individuals who feel like they are a part of a special project that may some day appear on the big screen. The tricky situation, as Steele warns, is how to use these digital mediums in a more efficient and time saving manner by making sure your audience sees a return on investment. A producers credit is not as effective as filmmakers assume since the general public often times do not understand the importance of the title. Frankly, if the Executive Producer credit is over used and given out at ease, it will lose all influence in the industry. The Academy Awards are too long as it is, if an Oscar for Best Picture is presented to all the Twitter followers for a production company, the telecast would last for days.

References

Steele, J. (2010, April 27). Independent films’ new path to financing. The Huffington Post: Tech. Retrieved from http://www.huffingtonpost.com/jeff-steele/independent-films-new-pat_b_553044.html

MPAA: The Big Fish in Film

noreply@blogger.com (Anonymous) — Thu, 09 Aug 2012 19:18:00 +0000

Starting out in an industry, especially forming your own business, it is vital to know the key players and be able to network. In an industry such as entertainment, the old adage “It is all about who you know!” rings true and in the film industry, this concept could make or break a business. While in most industries, it is smart and productive to start at the local level by networking with city or state associations and commissions, the film industry has one major player at the helm; the Motion Picture Association of America (MPAA).

http://www.gettyimages.com/detail/illustration/film-royalty-free-illustration/97403297

In analyzing the film industry and the steps it takes to create a successful production company, my instincts lead me to my local film institutions, the Colorado Film and Video Association which partners with the Colorado Office of Film/Television/Media. These organizations have amazing programs, incentives, events, and supportive resources aimed to help Colorado filmmakers and media professionals navigate this unpredictable industry. While delving through the various channels of these groups however, I was consistently navigated to a MPAA reference and soon discovered the all-encompassing power of this association.

MPAA is comprised of the six major U.S. motion picture studios, which include Walt Disney, Sony and Universal. They control and monitor major functions in the film industry such as getting a film rating (their board of parents make that fateful and expensive decision between PG-13 and R), registering movie titles, and gaining approval for all film related advertisements. In order for any rated film to be released, it must go through their channels and attain approval.

Although they seem like the all-powerful rule-maker, MPAA’s main mission is to be an advocate and fight for the rights of the film industry by educating professionals, creating and defending legislation and establishing programs that fight for and maintain an advantageous environment. They create new initiatives and technologies that assist professionals as well as ensure a healthy and respectable future for this creative medium. They are extremely committed to intellectual property rights education and protection from pirating and also act as the champion for the rights of the artist. They actively pursue those who illegally mass-produce, identify and shut down criminal websites and campaign for new laws to protect the rights of filmmakers.

Being a small fish in a big pond can be a terrifying thought and so often large groups and associations (especially the thought of a collaboration of several major players) can seem intimidating and threatening. MPAA, although comprised of potential long-term competitors, is designed to promote fair trade and competition and create a business atmosphere where smaller companies stand a fighting chance. They promote the ideals of job creation, economy stimulation and spreading art to the masses. In starting a small production company, their standards are what I would have to abide by with regards to ratings and advertising. They give detailed advice about how to properly attain the necessary requirements but are also a great resource and possible protection for any projects that I may someday attach my company name to. With a persona of community, artistic expression and a thriving business for all, MPAA has a direct affect on the film industry and while my local resources are vital, this big fish is the gatekeeper.

A Soldier for Film

noreply@blogger.com (Anonymous) — Sat, 04 Aug 2012 22:47:00 +0000

Film has always bridged a wide array of gaps and facets in my life. Whether it ignited a passion (mob movies such as The Godfather- I love stories of family, whether born in to or made); helped me see a different perspective (I viewed a film named Ajami at a film festival a few years ago about young lives in Tel Aviv that really opened my eyes to a differing way of life); got my creative juices flowing (Sofia Coppola’s vision and direction in Lost in Translation); or simply allowed me to escape the realities of the world for 90 minutes or more (I adore Judd Apatow for his genius in this arena); film has always been my gateway to another world or way of thinking. Projects, in particular documentaries, are specifically designed to take the viewer somewhere new and unexpected while shedding a light on something the filmmaker is passionate about.

http://armylive.dodlive.mil/index.php/2010/06/independence-day-greetings-from-combat/

When I came across the speech of Deborah Scranton at the 2007 TED conference, I viewed it simply to fulfill my own selfish enjoyment of hearing a female filmmaker talk about her experiences in the industry but was blown away by her project War Tapes. As a military kid I have lived that unique lifestyle of growing up on bases, watching loved ones be deployed and being raised by one parent as the other was in a war zone and I have therefore always been sympathetic and extremely emotional to the stories of the military and war. Scranton is able to connect with her audience, whether seated in front of her, in the movie theater or from her oversized chair in her Colorado office in front of the computer, and show them a rare glimpse in to the life of American soldiers during the war in Iraq. Her “film from the inside out instead of the outside in” approach put the cameras, not in the hands of the media or filmmaker, but the soldiers themselves and gave a never before seen perspective into the horrors of war. The shaky camera and the terrifyingly unexplainable sounds in the distance made the audience feel like they were on the front lines. The profanity, blood and machismo all added to the realness being unfolded. The gripping images that exploded on the screen moved me to tears while Scranton's voice cracking as she spoke of these soldiers so warmly and genuinely sympathetically drove me to fits of sobs.

Scranton built a relationship with these soldiers living in an unforgiving and deadly place and it was evident in her end product. The military is very protective of its image and very wary of the media but she gained their trust through correspondence, a listening ear and most importantly, patience. There was no exploitation, only reflection and examination. That she was able to do this at all is something profound but accomplishing it as a woman is astounding and inspiring.

Filmmakers have a responsibility to their audience and their subject that can be so often forgotten or abused. Scranton takes her role as storyteller of an untold or socially manipulated tale with a sense of integrity very seriously and you can hear it in her voice. This film was not designed to be a clever PR piece or publicity stunt. She gave these soldiers a voice and an opportunity to allow the world to see their side; the good, the bad and the horrific. These soldiers changed her life and she is passionate about putting this film in front of others so that they may have the same experience. In the last minutes of her speech, she calls the American public to action. No more blind support and ignorance. There are ways to help and things to be done and that to me is the beauty of film. That something I feel is my passion and cause can be put in front of the masses to share in an experience. While I appreciate my 90 minutes of mindless bliss with a good romantic comedy, film can also change the world.

Being Brave: Pixar's New Feminist Heroine

noreply@blogger.com (Anonymous) — Thu, 26 Jul 2012 01:15:00 +0000

I love summer time for a multitude of reasons including the beach, afternoon thunderstorms and brunch outside on a warm Sunday morning. My favorite thing about summer however is the big movie releases. As I ventured through my traditional summer film fest, I recently made a deviation from my usual big budget action pieces and saw the animated flick, Brave. I was expecting to take a much-needed break from reality with the predictable Disney-Pixar format and storyline. A princess meets prince, falls in love, a witch enters the picture and casts a spell, trouble ensues, prince rescues princess, love conquers all, prince and princess get married and they live happily ever after. While all of these themes appear and are discussed in this picture, Brave flips them around and fights the stereotypes that Disney-Pixar themselves created.

www.amazon.com

I was inspired and moved by the spirit of young Merida, princess of a Scottish clan that rides fast, shoots arrows and has a smart mouth. Although I probably was not the intended audience, being… well… a bit older, I could relate to this quirky, independent young lady. Not just because I too am a smart-mouthed, curly-haired, redhead of Celtic decent, but I know the stresses of being the first-born girl and the pressure to marry and fit a certain mold that someone else (family, society, etc.) has laid before you. I loved that instead of accepting the norm as law, she fought against what she knew in her heart was wrong. Merida differs from past Disney Princess rebels like Mulan, Ariel and Belle because it is not a man that drives her adventure or saves the day and an extravagant wedding does not lead to final credits. As Kelly MacDonald, voice of Merida, asserts in an interview with The Hollywood Reporter, “[Merida] makes her own mistakes and then she doesn’t need a Prince Charming to come and make things better. She makes her own trouble, and then she gets herself out of that trouble, and I think that’s a very good message”.

The film also shocked me with a few other elements that differ from the standard. I really enjoyed the mother-daughter story line between Princess Merida and her mother, the traditionalist yet strong in her own way Queen. There are so many stories focused on the father-daughter relationship in animated pictures, which while still poignant and relatable, (especially for this daddy’s girl) it was refreshing to see another powerful, special and sometimes complicated relationship in a girl’s life. Melissa Silverstein of Women and Hollywood examines this special bond by expressing how strength is found in everyone in different ways and it is only when both Merida and her mother take a step back and see things from one another's perspective that they truly learn and accept each other.

The plot did something that most films, animated or not, cannot usually accomplish which was become unpredictable. I knew the basic premise and was expecting a Disney Princess tale, which I got, but with a twist. I was expecting a whiney little girl character and a love interest but neither appeared. Even the customary “lesson” in Brave was unique and fitting for the changing social climate. She did not have to give up her ideals and compromise in order to please everyone else. She stayed true and with open rhetoric, strength and a little bit of gumption, got her point across while rebuilding those important relationships; all while maintaining the family values that Disney built its reputation upon.

I felt this film was an impeccable picture of feminism in this day in age. Strong, vocal, powerful, and unruly at times but still feminine, compassionate and understanding. It is not about man-hating or being against marriage. It is about equality and demanding the same rights and control over one’s life as a man. Merida is not protesting marriage; she is asking to get there in her own time and by her own rules. Most of all, she is asking society and her family to allow her to live her own life and to accept her as she is, not what they see as the ideal. I thought Brave had a great message for young girls and was such a refreshing story to watch. I may be ever so slightly older, but that flame haired, unruly little girl inside went home feeling a little more empowered. And also hugged her mama!

Saying Goodbye to the Original Feminist in Film: Nora Ephron

noreply@blogger.com (Anonymous) — Wed, 18 Jul 2012 21:19:00 +0000

The film-making world lost a legend with the recent passing of screenwriter/director Nora Ephron. She was more then just an impeccable talent that created memorable characters and plots that could reach the masses. She was a powerful, loyal, sensitive, intelligent and funny lady who wrote to women and for women. Although her writing was aimed at female audiences, Ephron was able to speak to both genders and became one of the first and most influential women studio directors. With films like Sleepless in Seattle, When Harry Met Sally and You’ve Got Mail, she created blockbuster films, iconic scenes (Hello! Meg Ryan’s now infamous diner scene in When Harry Met Sally!) and characters big and small that would touch so many lives all while proudly calling herself a feminist.

www.boulderjewishnews.org

There were never any feminist stereotypes portrayed in Ephron's projects like man bashing or bra burning and she never showed any disregard to the stories of love; whether finding, losing or reclaiming. Her feminist prose was about speaking to women and relating their unique qualities and stories to the rest of the world. She pushed the boundaries in a male dominated industry by unapologetically portraying strong, silly, complicated female characters while still being able to be humorous and laugh at the ridiculous.

Christy Lemire in her article for the Associated Press speaks about Ephron’s distinct ability in balancing the complexities of the female psyche and portraying the sweet and caring while still unabashedly highlighting the neurotic and overtly verbal traits. Her writing demonstrated the type of feminism that I so strongly relate to as my own ideal. Her stories were not about disrespect for men or the masculinization of women. They were about celebrating women for who they are while creating stories that made us laugh, cry and think about our own lives. Sometimes strength comes from weakness (Meryl Streep in Julie & Julia); sometimes neurotic can be endearing (Meg Ryan in Sleepless in Seattle); and often losing it all can lead to a happily ever after (Ephron favorite Meg Ryan again in You’ve Got Mail). Whatever the scenario that Ephron wrote about or highlighted on the big screen, strong women prevailed. Women and Hollywood reporter Sasha Stone looks at the influence Ephron had despite being consistently overlooked by male dominated Hollywood. It did not seem to matter that she received only three Oscar nominations and no wins in her illustrious career because she continued to speak her mind and create stories for the audience of her choosing, not the Oscar voters.

I do not have a lot of role models in people that I have not had personal contact with but Nora Ephron is a rare exception. She was a powerful example of a successful and trailblazing woman in the film industry and through all the sadness of her passing, her archive of work will forever be with me.

The Avengers: An Unsuspecting Feminist Tale

noreply@blogger.com (Anonymous) — Fri, 08 Jun 2012 21:04:00 +0000

If you hang out with me for too long you ultimately find out two major things. One, I am extremely passionate about film, and two, I am unabashedly a feminist. Put those two together and you will usually have to listen to me rant about Twilight. My tirades do not focus on the actual film; cinematography, character development, etc., but about the message I believe is being sent to young girls by a whining young adult female who is weak, needs a man to survive and has no identity or desire to get one of her own. Just because this is my personal philosophy does not mean that I go to movies looking for that message; I like to go in a theater and enjoy a film for what it is meant to be. So when I went to see The Avengers a few weeks ago, I was not expecting a cinematic masterpiece with a message that would make an impact. I was going to see an action movie with manly superheroes, explosions and some vapid yet beautiful women placed in the background.

When exiting the theater I successfully hid the inner movie geek inside of me from my date with simple responses like “It was good”, “Amazing special effects” and “Robert Downey Jr. really stole the show”; but inside I was giddy. Not because of the action, which I thoroughly enjoyed, but because the emergence and spotlight of some strong, smart and tough female characters. I successfully put my personal, loathing feelings about Scarlett Johansson aside (although I will say I did punch a little bit harder in kickboxing class the next day thanks to her Black Widow) and reveled in the fact that although yes, she is clad in a skintight jump suit, she uses her brains and her skill to fight the good fight.

An article by The New Agenda, a website dedicated to women’s rights, spoke about the images and messages that came across the screen and how The Avengers could definitely qualify as a “feminist film”. Women have had films and television series about female unity tied in with the ability to be strong and fight evil with projects like the campy Charlie’s Angels. The film’s director Joss Whedon is even a well-known female rights activist who is already responsible for creating strong female images such as his long running and fan favorite Buffy the Vampire Slayer which highlighted a strong, smart and cunning lead female character. Black Widow however, is a woman fighting along side the men where the boys club has been infiltrated by an (for all intents and purposes) average woman with no super powers who can stand up for herself and man-kind with no complaint. The appeal this film made to females by including strong characters (and some male eye-candy as well), a film that’s original key demographic were males 18-25 as mentioned in The New Agenda’s article, the audience was filled with 40% women. I even appreciated that the use of “feminine wiles” were used to manipulate and coerce desired outcomes in order to get vital information from the “bad guy” and help the noble cause. It is using the tools we are given. If a man used verbal manipulation to get what he needs it is seen as fair play and smart but when a woman does the same thing, it is tricky and sadistic, but not for Black Widow!

The topic of whether or not The Avengers is “a feminist film” has been a hot issue in the Hollywood blogosphere. Articles like the now infamous Moviefone piece, “Girl’s Guide to The Avengers” (which due to intense criticism, has since modified the name of the article), have made the assumption that not only does Black Widow not stand out as a strong, independent female character but that a female audience would not understand an action movie to begin with. Scott Mendelson however summed up the beauty I find with the topic of feminism in The Avengers nicely in his blog for Hollywoodnews.com. Not only did Whedon intentionally make a statement with this character and a feminist message but drew attention to it by NOT drawing attention to it. The audience came to it organically and was able think for themselves.

Now, I really am not taking all of this that seriously and although I do legitimately have a problem with Twilight and its anti-feminist message, it is mostly due to the audience the message is intended for and their ability to decipher reality from fiction and positive from negative. I take The Avengers as it was intended and for whom it was intended, but nonetheless, I left that theater feeling a little bit stronger.