2010 has been the low point in my blogging life with only 22 posts throughout the year compared to 58 in 2008. I often feel I simply don't have anything new or interesting to say. Then I read Ted Hope's blogs (where he posts about 10 times as often as I do - no exaggeration) and see that he is always finding something stimulating and/or important to share. In fact, half of my lame 2010 output was reposts of his blog. So, the fact is, I'm just a shitty blogger. But I'm going to change that. I'm going to dig deep for fresh insights, ideas, inspirations, awarenesses, modalities, tools, technology and more - as well as re-introduce the golden oldies. I'll point my finger at the latest and greatest as well as the old faithfuls. And maybe this will help take all of us a little farther down the road in our filmmaking lives while adding something meaningful to our lives as a whole.
For those of you who don't know, I've spent the last 4+ months in New York City, mostly for personal reasons. But there is much work that can be done there - on many levels. NYC is so incredibly vibrant, in part due to it's amazing density. It throws people in very close proximity to each other and creates some exciting collisions of thought, attitude, energy, work, art, culture, business, politics and simple conversation. It's no surprise then that there is relatively far more exciting independent filmmaking work coming out of NYC than L.A., especially given that the "industry" in NYC is dwarfed by the one in L.A. That said, the real revolution is that exciting filmmakers are emerging from all manner of cities, towns, villages, farms, burgs, burbs, coves and caves around the world and integrating local culture and concerns into their work. Anyway, I digress. For many years, now - and for the reasons stated above - we've been wanting to launch a Filmmakers Alliance group in New York City. So, since I'm spending so much time there, the time is right to finally do it! But putting together a group in NYC brings up many considerations, especially since the filmmaking culture in NYC is so different from that in L.A. Is there actually a need for FA in NYC? How will it be structured? Where will it be centered? What will it offer? Of course, much of what we do in L.A. transplants there just fine. But a lot of stuff does not. So, I've been mostly watching what goes on in NYC...and how it goes on. Getting a feel for it, so to speak, and figuring out who best to bring into the fold. Making lots of notes and hoping to do a for-real launch in May.
Also, I am writing a film that is set in New York City. I can, of course, write something set in a city in which I've lived without having to be there. But I find being here and discovering/re-discovering it's rhythms and nuances on a daily basis adds much to the depth and flavor of the script. Anyway, for all of the same reasons mentioned above, it's a great place to write.
Why do we need money? Well, FA is a non-profit and lives and dies by philanthropic largesse - sometimes corporate, sometimes organizational/foundational and sometimes individual. And it's my job to find that money. Corporate sponsorship has been very challenging for the last few years and many good filmmaking orgs have had to be very creative to stay afloat. We're no different. On top of it, we are doing a couple of things outside of our normal scope of activities that demand cash.
"What happens in the film. What, as an audience, are we watching take place?"