Sarah Gertrude Shapiro is on our 10 to Watch list for her narrative short, “Sequin Raze.”May 9th, 2013 | Mike Sullivan
Senior critic Kurt Brokaw admired Sarah Gertrude Shapiro's narrative short (Sequin Raze at New Directors/New Films) so much, the rest of us wanted to see what all the fuss was about. Now, we want you to see for yourself.
A reality TV dating show might be the last place you would think to explore the societal pressures women face, much less mine the depths of genuine emotional pathos. But then, you aren't filmmaker Sarah Gertrude Shapiro, and you haven't seen her narrative short, Sequin Raze.
The Independent chooses the 10 Filmmakers to Watch in 2012.June 12th, 2012
The Independent shines a spotlight on 10 innovative filmmakers to keep your eye on this year, and coming years. We've got web series creators, animators, and filmmakers of all genres... and in the last month we've been releasing exclusive new extras on Facebook.
It's another year, and time to announce 10 filmmakers we at The Independent think you should keep your eye on. It's a varied group, to be sure, but each filmmaker has a few key things in common: talent, drive, and the desire to innovate.
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.
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.
Filmmaker and station relations consultant Jennifer Owensby Sanza shares the advice she gathered from mentors and firsthand experience about how to secure public television broadcast.March 21st, 2011 | Jennifer Owensby Sanza
In this guide to securing public television broadcast, filmmaker and station relations consultant Jennifer Owensby Sanza spills the beans on how to reach the staggering potential only public television can offer--reaching 99 percent of American homes.
Getting my first documentary, The Teachings of Jon, broadcast nationally on public television felt like walking through a minefield, blindfolded. As a recipient of a completion funds grant from Corporation for Public Broadcasting (CPB), I was fortunate to have the best mentors to guide me through the process.
David Pierotti loves PBS but asks: What would it take for PBS to keep its fiction productions on this side of the pond?September 8th, 2010 | David Pierotti
"You could argue that there's plenty of fiction on PBS. Strictly speaking, that’s true. My complaint is that it all comes with an accent," writes David Pierotti. Why can't his most beloved source of TV programming, PBS, bring the same charisma to its American-made fiction as it does its nonfiction?
As we enter another fall broadcast season and the networks prepare to launch new fare like Mike & Molly or hype established shows such as House and Modern Family, television viewers do not lack choices. Granted, most will be awful, but not awful enough to drive more viewers to my favorite programs over at PBS.
A trend toward online documentary-style commercials might be a good source of supplemental income for filmmakers.September 17th, 2009 | Enette Ngoei
Corporate television commercials are quickly becoming a thing of the past. Instead, businesses both big and small are turning to documercials, commercials shot like documentaries, to more sincerely convey their message via the Internet. Like it or not, this trend is opening up doors for independent filmmakers — both financially and professionally.
A machine’s dial turns, and a white powder is added to a spinning beaker of water as a woman’s voice overhead talks about toothpaste and animal testing. It looks like a documentary you might find on PBS, but instead, it’s a commercial for Tom's of Maine.
A review of the new cross-platform media center, boxee.November 13th, 2008 | Michele Meek
The new social media center, boxee, aims to change the way you watch TV by bringing all your favorite media into one place, whether it be from the Internet, Hulu or CBS. But, could this mean a change for broadcasting independent films as well?
Joost, Hulu and boxee – one thing is for sure, names like the American Broadcasting Company (aka ABC) are a thing of the past. Instead, the future of broadcasting is filled with silly-named companies that aim to overthrow your idea of television.
Is the $496 million deal good or bad for independent filmmakers who rely on the channel for a sense of community and crucial distribution?May 7th, 2008 | Mike Hofman
On Wednesday, May 7, the Sundance Channel announced that it had been acquired by Cablevision—the nation's fifth biggest operator, the parent of IFC and AMC, and a big player in the Northeast—for nearly $500 million. Robert Redford would remain affiliated with the network under the terms of the deal. So what does this mean for filmmakers who view the channel as both a key distribution outlet and a place that creates a sense of community for them? The Independent's Mike Hofman asked a few filmmakers for their views on the deal. Do you have an opinion? If so, read the article and then add your comment.
The Sundance Channel was scooped up by Cablevision's Rainbow Media for $496 million on May 7. That division of Cablevision also owns the IFC Channel, AMC, Fuse, and We. In announcing the deal, officials took pains to quash speculation that Cablevision would combine IFC and Sundance, the channel founded in 1996 by Robert Redford and partially owned by Redford, General Electric's NBC, and CBS Corp.