Jean-Pierre Améris gets personal about facing social anxiety and how it influenced his latest film, "Romantics Anonymous."September 8th, 2011 | Katherine Brodsky
"Especially for directors, writers or anyone that is an artist, being overemotional is actually both a gift and a curse. That’s your tool," says Jean-Pierre Améris to The Independent's Katherine Brodsky about his new film, Romantics Anonymous. In the interview and the quirky romantic comedy, Améris lays bare his own struggle with social anxiety, the loneliness all people face, and the universal appeal of chocolate.
No doubt that Romantics Anonymous is a very personal film for director Jean-Pierre Améris. He knows all too well the affliction that his film’s protagonists confront: social anxiety. The unlikely romantic comedy pairs two extraordinarily shy and, yes, emotional people.
Writer Lisa Pegram considers her friend Ahmed Ahmed's new documentary, "Just Like Us," relative to her own journeys.July 15th, 2011 | Lisa Pegram
What happens when a friend accomplishes something huge, like finishing his film, when you're still struggling to find your own artistic way? Ahmed Ahmed's new documentary about comedy in the Middle East inspired poet and memoirist Lisa Pegram in more ways than one.
Late one night in early June, I was devouring a novel by candlelight after forgetting, for the third time in a week, to buy bulbs. The room was dim and though it was hell on my eyes, the poet in me was charmed by the whole feel of it. I took a short break to make the book last and contemplate a shadow in a far corner, when the room brightened with the flash of a text message on my cell phone.
Doc filmmaker Chris Paine assures viewers and environmentalists--the electric car was just taking a very long nap.July 6th, 2011 | Katherine Brodsky
If you thought the electric car died a slow, tragic death, you're right. And if you're like filmmaker Chris Paine, who helped document its demise in Who Killed the Electric Car? or the inventors and advocates in his new film, Revenge of the Electric Car then you believe, beyond a shadow of the doubt, electric can and will power vehicles of the future. Read what Paine told the The Independent's Katherine Brodsky after his film premiered.
Director Chris Paine is back with a follow-up to his highly touted documentary, Who Killed the Electric Car?, which celebrated the birth and mourned the death of the electric car. With help from a cast of unwavering advocates, Paine resurrects the vehicle in Revenge of the Electric Car.
The Independent's Nikki Chase lists the top 10 filmmakers we think you should watch this year.May 16th, 2011 | Nikki Chase
Wondering who will be named to The Independent's 10 to Watch 2012 list? Here's a reminder of last year's inspiring filmmakers as we put the finishing touches on this year's roll out.
It's time for our annual 10 Filmmakers to Watch list. We’ve pooled our resources and brainpower to get the scoop on who’s who this year.
Brandon Walter Irvine helps filmmakers crack the code of crowd funding.May 12th, 2011 | Brandon Walter Irvine
Crowd Sourcing. Crowd Funding. Kickstarter. IndieGoGo. Everyone's either doing it, talking about it, or wishing they knew enough to utilize these new approaches to making a movie from the ground up. Here's your primer on who, what, and how.
The Big Players and What Differentiates Them
Via Facebook, The Independent announces our 10 to Watch in 2011 with one filmmaker (and one piece of exclusive content) per day, from May 6th through the 15th.May 6th, 2011
We'll be announcing our annual list of 10 of the most talented filmmakers we think you should keep your eye on by posting exclusive content daily on our Facebook page.
Editor's Note: This collaborative reporting effort was led by Nikki Chase, Maddy Kadish and Beth Brosnan.
At SXSW, Steven Abrams explores the threads between technology, fundraising, and independent filmmaking.March 24th, 2011 | Steven Abrams
What's interactive to the third or fourth power? SXSW and its deepening relationship to all things tech and social media. Steve Abrams comments on how, at this year's fest, the intersection of social networking, fundraising, and technology affected the showcased films and which filmmakers are leading by example.
South by Southwest (SXSW) has become a convergence of film, interactive media, and music, as the lines between these media have increasingly blurred. So it's appropriate that David Dworsky and Victor Köhler's documentary, Press Play Pause, was chosen for an opening night premiere.
Many filmmakers want to reach Netflix's 16 million subscribers, but submission guidelines and criteria for films without third-party distributors aren't quite clear yet.January 12th, 2011
Indie filmmakers and DIY distributors are vying for a shot at Netflix distribution. Though Netflix added 300 streaming independent films to their service one year ago, the submission and selection process for indie films is still evolving.
By Michelle L. Martin and Katie O'Connell
In her 7th installment of "Story Strategies: Debunking the Myths of Storytelling," Doc Doctor Fernanda Rossi debunks the myth that waiting for the "right" producer will dissolve all of your film's problems.December 22nd, 2010 | Fernanda Rossi
In her 7th installment of "Story Strategies: Debunking the Myths of Storytelling," Doc Doctor Fernanda Rossi debunks the idea that Ms. or Mr. Right producer is just a phone call, or Facebook chat away... and once together your film will live happily ever after.
“I’ll go on with the film when I find the right producer.” Keep looking!
The myth in all its glory
Prep work and communication with festival staff can ensure a top notch film debut.December 21st, 2010 | Kelly Gallagher
Finally, your work screens at a festival. But the sound is off and it looks terrible. Kelly Gallagher asks festival programmers and filmmakers how to increase exhibition quality at festivals. In addition to post-production, improve your audience's experience through preparation and developing rapport with festival staff.
Many filmmakers forget that there are plenty of final touches to be made after the last edit is approved and digital formatting requirements are met for festival submissions. Even after festival acceptances flood your in-box, there are ways to maintain creative control over your film's exhibition.