Independent Filmmakers Recoup Losses with YouTube

Posted by Johnny Mercedes Categories: Independent, Distribution, Filmmaking, Technology

In the ever-changing world of independent film, directors are constantly looking for new ways to market their movies.  While the Internet has long been one of these tools, two filmmakers are taking things to the next level.  Not only are Arin Crumley and Susan Buice putting their entire full-length film, Four Eyed Monsters, on YouTube for all to see, they’ve also found a way to make some money and get out of debt.  For one week, Spout, a place where people can go to talk about movies, will give the pair one dollar for every person who subscribes to their site.  We here at FilmCrunch love the site and believe anyone who likes movies should be a member, but now you also have a chance to monetarily support independent film from the comfort of your couch – I’d call that a win-win.  The donations are already up to $17,500.00, but the goal is substantially higher; check out the video for more info.

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FilmCrunch 039: This Film Is Not Yet Rated DVD Review

Posted by Andru Edwards Categories: IFC Films, Documentary, DVD Reviews, Short FilmCrunch, Videocasts

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Veronica Santiago and Neil Estep review This Film in this episode of FilmCrunch:

The MPAA, a lobbying organization for the movie industry, maintains a rating system first implemented in 1968 by longtime president Jack Valenti. This system, with its age based content classification using letter grades G, PG, PG-13, R, and NC-17 (formerly X), has become a cultural icon. But behind its simple façade is a censoring process kept entirely secret. Board members are anonymous; deliberations are private; standards are seemingly arbitrary. Thus, the trade organization for the largest media corporations in America also keeps a trademarked lock on content regulation over our most unique and popular art form. Filmmaker Kirby Dick asks whether Hollywood movies and independent films are rated equally for comparable content; whether sexual content in gay-themed movies is given harsher ratings penalties than their heterosexual counterparts; whether it makes sense that extreme violence is given an R rating while sexuality is banished to the cutting room floor; whether Hollywood studios receive detailed directions as to how to change an NC-17 film into an R, while independent film producers are left guessing; and finally, whether keeping the raters and the rating process secret leaves the MPAA entirely unaccountable for its decisions.

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