In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Innhold levert av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
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Indie Film Hustle Podcast: Filmmaking | Film School | Screenwriting | Film Marketing | Independent Film | Cinematography | Film Festival | Filmmaking Podcasts I Moviemaker
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FT 085: Making and Selling a Niche Indie Film with Rob Smat
MP3•Episoder hjem
Manage episode 304967164 series 2557610
Innhold levert av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
Today on the show we have writer/director Rob Smat. His niche film is THE LAST WHISTLE. It is a Football Drama with a budget of 125K, the crew was almost entirely film students, shot in 13 days in Texas, distributed worldwide by Vertical Ent. for 10 theater releases this past June, and originated as a pitch for Rebel Without a Crew TV show and was turned down so I made it myself Rob formed a cast from high-level B-list stars, fostered relationships with distributors before shooting, and focused on production value without losing sight of the story. Trying to recoup the budget rather than use the festival circuit to find an audience he did not submit the film to any major festivals, we discuss the pros and cons of that strategy. He was 22 when I started developing the project and wanted THE LAST WHISTLE to lead him to a place where he could build a filmmaking business model that could sustain his filmmaking goals. Enjoy my conversation with Rob Smat.
…
continue reading
1998 episoder
MP3•Episoder hjem
Manage episode 304967164 series 2557610
Innhold levert av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business. Alt podcastinnhold, inkludert episoder, grafikk og podcastbeskrivelser, lastes opp og leveres direkte av IFH Filmmaking & Screenwriting Podcast Network, Alex Ferrari | Filmmaker, Visual Effects, DP, Film Distribution, and Film Business eller deres podcastplattformpartner. Hvis du tror at noen bruker det opphavsrettsbeskyttede verket ditt uten din tillatelse, kan du følge prosessen skissert her https://no.player.fm/legal.
Today on the show we have writer/director Rob Smat. His niche film is THE LAST WHISTLE. It is a Football Drama with a budget of 125K, the crew was almost entirely film students, shot in 13 days in Texas, distributed worldwide by Vertical Ent. for 10 theater releases this past June, and originated as a pitch for Rebel Without a Crew TV show and was turned down so I made it myself Rob formed a cast from high-level B-list stars, fostered relationships with distributors before shooting, and focused on production value without losing sight of the story. Trying to recoup the budget rather than use the festival circuit to find an audience he did not submit the film to any major festivals, we discuss the pros and cons of that strategy. He was 22 when I started developing the project and wanted THE LAST WHISTLE to lead him to a place where he could build a filmmaking business model that could sustain his filmmaking goals. Enjoy my conversation with Rob Smat.
…
continue reading
1998 episoder
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