Latest blog posts by ErenGulfidan

The Limits of Communication with Tess Martin's Whale Story - WACKY TUESDAYS - Social Film

11 06 2013 16:11:30 +0000

Several months ago, Beyza Boyacioglu, an artist and a good friend of mine, did a two-channel video installation about the limits of language and the impossibility of perfect communication. I was the subject. The making of the video required several hours of sitting and eating three different kinds of fruit. Each shoot went late into the night. As tiring as it was, I was delighted to be part of the project, because I too was interested in what she was exploring. I don't think there's anyone in the world who hasn't experienced the frustration that comes along with being misunderstood. I consider myself an articulate person, but I've suffered too many times feeling like I failed at articulating my thoughts and feelings at a level where the person I am communicating with knows exactly what I'm talking about. But since there is always more than one person in a conversation, that articulateness is not the only element needed for clarity to come through. The success of perfect communication also depends on the listener, if there is such thing as perfect communication at all.

This week, I added a new filmmaker to Eren's Picks. Tess Martin is a Seattle based artist and animator, and I absolutely fell in love with her work at first sight. Sometimes, I seek filmmakers, sometimes they seek me. Tess contacted me to be considered for Eren's Picks, which provides filmmakers with online film financing, and my answer was obviously yes. Like Beyza and her mission to explore the limits of language, Tess is also interested in communication. However, while Beyza studies the interaction between two people, Tess looks at the relationship between a fisherman and a whale. Not to be confused with Herman Melville...

Tess Martin's The Whale Story, is the re-telling of an incident in which a fisherman goes on a voyage to save a trapped whale in the waters of San Francisco. With beautiful, painterly imagery, Martin questions whether the whale's response to the fisherman upon being saved was a conscious way of saying "Thank you." "It's so hard to know... The bridge of communication between species is still too far for us to cross," says one of the narrators as the final word. The true story is retold on a 16 foot high wall with the help of the passing public in Seattle's Cal Anderson Park.

Watch The Whale Story below:

Find this story on Twitter by searching for #socialfilm #wackytuesdays #filmannex

Building Communities Around Hashtags - Film Annex, Eren's Picks, Online Film Financing

07 06 2013 16:42:26 +0000

A brand new member joined Film Annex earlier this week. It's a 70 inch flat screen monitor/TV. It's our new best friend here in the office. Today, thanks to our new friend (I'm sure we'll give it a name sooner or later), we had a pretty fruitful meeting about building communities around hashtags.

Why do hashtags matter? Because in today's fast-paced, information-filled world, hashtags are brief enough to draw attention to specific topics. Moreover, they can be used for creating a brand whether it be a company or a person. Everyone here at Film Annex has a number of keywords attached to them. We use these keywords to define what we do. Here are some of mine:

Film Annex

Eren's Picks

Social film

Online film distribution

Online film financing

Democratizing film

Reinventing film distribution

Reinventing film financing

Now, by turning these keywords into hashtags, i.e. #erenspicks, and asking the filmmakers on Eren's Picks to do the same, I'm turning Eren's Picks into an active community, in which filmmakers and viewers can easily find each other, watch quality films, and connect with each other for new productions.

Another good example is #onlinefilmfinancing. All our filmmakers know that Film Annex's financing model is unique and based on advertising revenue. By using online film financing as a hashtag, once again, we're bringing together everyone who recognizes and uses this model to fund their films. Moreover, we're attracting the attention of those who also talk about online film financing and asking them to join our circle. This way, we're adding new people and ideas to our group, working to expand the meaning of and the possibilities that come with online film financing not just on Film Annex, but on other platforms as well.

If it weren't for the use of hashtags, the world would not know anything about what is going on in Turkey right now due to Turkish media's refusal to air the current protests of the people against Prime Minister, Recep Tayyip Erdogan. But thanks to the wide usage of hashtags such as #occupygezi and #resisturkey by both Turkish and non-Turkish people (including Patti Smith!), foreign media gave this cause a huge recognition.

So, I guess the question is... What's your hashtag?

Till next week,

Eren

Questioning Originality with Drew Christie - WACKY TUESDAYS' Most Entertaining Films

04 06 2013 17:29:54 +0000

A man goes to the movies and asks the guy at the ticket booth whether Hollywood has developed an allergy to originality. Sounds like the beginning of a joke, right? This is how Drew Christie's super witty, introspective, and creative animated film starts. And yes, it's all about originality.

Recently, I've been thinking about why I stopped going to the movies. When I was kid, my father took me to the movies every Sunday. It was our favorite thing to do together. I remember seeing The Crucible and Evita back to back one afternoon. What a thrill it was! (Although it sounds pretty boring right now).

When I first moved to New York, I went to the movies quite often. I cherished the fact that I had access to movie theaters like the Angelika and Cinema Village. But then, slowly, I stopped going. There's an old movie theater near where I live in Cobble Hill, Brooklyn, which supposedly shows a mix of Hollywood and art-house films. But the truth is they're mainly studio films, and I'm not interested in seeing any of them. Like the moviegoer in Drew Christie's film says to the ticket man, these films are either sequels or prequels, adaptations, spin-offs, etc.

On one hand, I feel like I'm constantly looking for something original without knowing what original exactly means. On the other hand, I am buying into the fact that people don't want to see or hear anything original, because they are used to what they're used to, and nothing is "truly" original. Though to me, originality doesn't mean something I've never seen, heard, or experienced before, but rather something that evokes a feeling I don't feel often or triggers a thought I haven't pondered before. In that sense, the world is full of originality to me, but I've been keeping Hollywood out of that world for the most part.

In Drew Christie's Allergy to Originality, which is this week's WACKY TUESDAYS pick, there's much discussion about what originality is and how the history of art is manifest to the fact that originality, as we think of it, doesn't really exist. The film's dialog is absolutely delightful. Thought-provoking, smart, and funny, no wonder Christie made this for the New York Times' Op-ed section.

Watch the video below:

Tune in next week for more wackiness on Film Annex's online distribution platform.

Till then,

Eren

Interview with Animator Jake Fried - Latest Independent Films

24 05 2013 13:22:35 +0000

About 3 weeks ago, my friend David Axelrod (not to be confused with the former campaign advisor of Obama) sent me this link: inkwood.net. It was one of those chat messages that you get when you are offline. Upon seeing it, I wrote back, saying "so coool."

A couple weeks later, my colleague, Fred Kurzh, wanted to show me something "really cool." It was a video on Vimeo Staff Picks. "I know this guy!" I said, all excited. "My friend sent me the link to his website recently." Fred said he invited him to Film Annex. I opened my inbox and searched for the link. "Yes, that's him!"

A His name is Jake Fried. a few days ago, he joined Eren's Picks with his incredibly unique, hand-drawn animations. His palette consists of ink, gouache, white-out, and coffee. An educator at the Museum of Fine Arts in Boston, Jake has exhibited his work worldwide and is now enjoying online film distribution and sharing on the Internet. In our interview below, Jake goes into more detail about his background, artistic choices, inspirations, and more.

The Deep End

I’m curious about your background: What got you into drawing and when you started animating. Would you consider yourself self-taught (even though I see that you attended MICA)?

I have been drawing and making art for as long as I can remember, but I only started animating around 2009. My style has always involved reworking and layering images endlessly, eventually I realized I was more interested in the evolution of my images rather than any “final state”.

When people describe artists as “self-taught” they’re usually describing some kind of outsider-artist with no formal training or knowledge of art history - that’s not me.

Why white-out and not white paint? They’re pretty similar, but white-out has that powerful “nail polish” smell. Doesn’t it make you dizzy?!

I use white-out because it’s matte, dries quickly, and is made to be drawn over. My work wouldn’t be possible using gesso or white paint instead - I would have to wait too long between scanning frames and the surface would become too thick to rework easily. The smell doesn’t bother me, nothing compared to oil-painting with turpentine.

Raw Data

And where does coffee come into all of this?

I basically use coffee like a brown ink-wash - it stains nicely and works well as a mid-tone between the black ink and white-out. It also emphasizes the handmade, lo-fi nature of my process.

What about the transformation of the figures? Are they pre-meditated? Or do you decide what will come next as you’re drawing?

I start with a general sense of where I want my films to go, but nothing is pre-planned, I "discover" through the act of making.

Do you think about integrating new elements into your work such as using new tools or creating a narrative piece?

In every film I explore new tools, techniques, settings, and themes. In my latest film “Raw Data” I started experimented with metallic-gouache, technological imagery, and sustained head-on portraiture. I don’t really see myself taking on a traditional narrative in my work, but I’m not ruling anything out for the future.

The Deep End

Who are some of your favorite artists and/or where do you get your inspiration from?

Other artists that I admire and constantly learn/borrow from would be Philip Guston, James Ensor, Picasso, and the comic-artist R. Crumb. Chuck Close says “inspiration is for amateurs” and I agree. I don’t need to be “inspired” to work everyday - I “discover” through the process of making, so I’m inspired by working, by the process, by the work itself.

What do you think is the most ideal space for your art to be viewed? How do you feel about showing your work on the internet vs. displaying it in a museum?

I think a museum, gallery, or theater is the best place to view art, where you can have a physical relation to the work and be free from any other distractions or stimuli. That said, I’m incredibly excited about the world of internet video and how it’s allowed me to share my work with such a massive and supportive audience. I think it’s wonderful that people can explore my work within the comforts of their own private spaces - where they can pause my films to view individual frames and re-watch when they want to.

The world of online video is developing so rapidly, I can’t really imagine what it will be like in the next few years. But I look forward to the innovations that will lead to new and better ways of distributing and viewing my work, like Film Annex.

WATCH RAW DATA BELOW:

-- Eren Gulfidan

How Sharing on Social Media Made Chris Hadfield the Most Famous Canadian Astronaut

17 05 2013 15:21:34 +0000

It seems like people will start making films in outer space pretty soon. The sets will be built inside spacecrafts, of course. Maybe, there will be a few exterior scenes. There won't be any need for special effects, because actors will fly by default. Who wouldn't kill to work on a movie set like this? I know I would.

Last night, one of my favorite music video directors, Emily Kai Bock, tweeted: "Music video of the year. From a Canadian too" and linked to the Canadian astronaut Chris Hadfield's rendition of David Bowie's Space Oddity. I don't think anyone knew that Hadfield had such an amazing singing voice, but what I want to talk about is the video and Chris Hadfield himself.

Chris Hadfield - Photo from The Guardian

Produced in the International Space Station as his five-month command neared an end, Hadfield's video is perhaps the most expensive music video ever made, considering the cost of sending someone into space. Even the most famous directors can fake it all they want, but they will never produce something as authentic as Hadfield did, at least not now. The video, which was uploaded on YouTube only 5 days ago, has over 13 million views. Some journalists are already alluding to the possibility of it becoming a viral phenomenon by bringing Gangnam Style into the conversation. Back on Earth, but not in Canada yet, Chris Hadfield is the most famous Canadian human being at the moment.

But Hadfield is not a one hit wonder, and I doubt that he will be solely remembered by the success of this video. Besides having one of the most coveted professions in the world, Hadfield has also built quite a social media presence for himself. He has almost a million Twitter followers, a YouTube channel with over 100,000 subscribers, and video views surpassing 15 million. On top of all this, more than 360,000 people like his Facebook page, which he uses to post photos of himself, his crew, and the of course, breathtaking views of our planet Earth.

Before the David Bowie video was released 5 days ago, Chris Hadfield was already the king of astronauts in terms of using and being good at using social media. He was already connected to so many people. So getting 13 million views in just 5 days shouldn't have been that hard for him. It really makes sense. There's even a video on Hadfield's YouTube channel called Chris Hadfield Discusses Social Media Outreach, in which he, well, discusses sharing on social media and his relationship with his followers.

Australian outback from Hadfield's camera - TIME

In a way, Hadfield becomes our eyes and lets us see the world from a totally different perspective. "When we do look down on a place that is currently in great turmoil and strife, it's hard to reconcile the inherent patience and beauty of the world with the terrible things we can do to each other as people and can do to the Earth itself locally. Part of the reason that we work so hard to communicate what we're doing up here as an International team is to try to give people a little glimpse of that global perspective, the fact and the understanding that we're all in this together. This is a spaceship, but so is the world."

To me Hadfield's social media is so much more important and valuable than Justin Bieber's or Lady Gaga's, but I have to give it to them (or their PR people) for having so many devoted fans. In any case, I'm a Hadfield fan now, and there's so much to learn from him.

-- Eren

You/Me/Evolution on WACKY TUESDAYS and Film Annex's Online Film Distribution Platform

14 05 2013 11:54:59 +0000

Of all the reality shows that make me cringe, I find Toddlers and Tiaras the most disturbing, and I don't even watch it. Its existence is enough to make me feel sorry about everything that is wrong with it. But the world is fascinated with little girls who are forced to look 40 by their deranged mothers with their hair and make-up, spray tanning, and the mystery beverages they have to chug to stay in shape, feel energetic, etc. These pageant shows let you peek into the world of all those little girls as they become psychologically damaged.

Usually, for my WACKY TUESDAYS series, I pick videos that have some humor and positivity in them. But life is not always ice cream and cake. This week, I am highlighting a music video directed by Mikel Cee Karlsson for the Swedish quartet, The Amplifetes' single "You/Me/Evolution". Shot in a narrative style that's reminiscent of a short film, the video turns the lens on a pageant girl's birthday party. With bouncy curls, shiny lips, and plenty of mascara, she takes her seat at the head of the table, looking impeccable in her pink dress. The dinner guests consist of awkward and "perfect" looking kids and their apathetic parents who applaud the little princess in slow motion. There's some dancing, a sexually-charged and ambiguous bedroom scene involving two kids, a dolled-up mother, and lots of balloons.

The video has been described as "beautifully unnerving," and I don't disagree, because it's beautifully shot and unnerving at the same time. However, I'll let you be the judge. There's no doubt that the little girl did a good job "acting," though I'm not sure what kind of directions she was given by the director or if she understood what it takes to be a little pageant queen. Still, she got to pretend like one for a day.

Watch the video below:

Tune in for more wackiness on Film Annex's online film distribution platform.

-- Eren

An Ode to Short Films and How Much They Rocked at the Tribeca Film Festival, Plus How Online Film Distribution Helps Shorts

03 05 2013 15:20:50 +0000

Short films are a big part of my life. I scout them, watch them, curate them, talk to filmmakers who write and direct them, and have made some here and there myself. Last week, at the Tribeca Film Festival, I dedicated 90% of my time to watching shorts and meeting with filmmakers who make shorts. It was an absolute thrill. Watching a good short film is so refreshing to me. It makes my day better. It's like taking an Advil when I have a headache. I have to admit... short films are my drug.

When you're in school majoring in English/Creative Writing, which is what I did, they make you read a ton of short stories. And then, they make you write short stories. Then, you critique other people's short stories, and they critique yours. Your life sort of becomes a short story full of critiquing. Before you graduate, you write a collection of short stories as your thesis. If you're very ambitious, you can also write a novella, but that rarely happens.

But when you go film school, which is what I sort of also did, you don't get to watch a lot of short films. You watch a lot of features. You watch Lawrence of Arabia, which is 216 minutes long. And it's cool because you get to stare at Peter O'Toole's once beautiful face for more than 3 hours. Sometimes, they make you watch the shorts that your school's alumni made - the ones that made it to festivals. You feel proud and perhaps envious. You want to make great shorts like that, but you keep starting at Peter O'Toole's face instead.

I've been wondering about why they don't make you watch shorts in school. And before the Internet "happened", where did people find and watch shorts?! Doesn't this boggle your mind? It surely boggles mine. A few years ago, when I was going through my French New-Wave obsessed period, I found out about Francois Truffaut's short film, Love at Twenty (L'amour à vingt ans) also known as Antoine et Colette, and I watched it on YouTube. It has been my favorite short film ever since. Again, when I found out that Eric Rohmer made the amazing Six Moral Tales (Contes moraux) series, which consists of 2 shorts and 4 features, I pinned them down on YouTube and then on Netflix. The Girl at the Monceau Bakery (La boulangère de Monceau), which is a 23-minute short, has also become a favorite. I guess it's obvious that I like my shorts long.

Watching shorts at the Tribeca Film Festival last week was such a great experience, because I got to see what short filmmakers are making right now. We get a ton of submissions at Film Annex, and I watch a lot of films online, but those films can be from 2012 or 2006, or even earlier - you never know. As I've mentioned in my previous post, I was absolutely impressed with what I saw. And, of course, I have my favorites. Here's a brief look at them:

LIFE DOESN'T FRIGHTEN ME

When does a girl become a woman? If you're a woman reading this, I'm sure you remember that awkward moment when you got your period for the first time. If you're a man, I'm not sure how much you know about the feelings involved when you see blood on your panties. Wait, you don't even wear panties! Stephen Dunn's Life Doesn't Frighten Me is a fantastic short film that tells the coming-of-age story of Esther Weary, who has to deal with the first steps of becoming a woman with little help from her clueless grandfather and his pet pug. The colorful, beautifully-shot West Anderson-esque film walks you through the strains of growing up, feeling ugly, not fitting in, and finally "just sucking it up." Find out more on the film's Facebook page.

EATING LUNCH

Anyone with an eating disorder? Or know someone who does? This 13-minute Swedish film depicts the painful reality and the experience of struggling with an eating disorder in an incredibly subtle, yet shrewd way. Throughout the film, we watch Klara, a 15-year-old, trying to eat lunch in 30 minutes with four other youngsters under the supervision of nurses. Set in a single location, the film, directed by Sanna Lenken, is absolutely hypnotizing and a little bit disturbing with terrific performances from the actors. Also an official selection at the Berlin Film Festival. More info here.

RPG OKC

RPG OKC is an 8-bit style, short animated film by Emily Carmichael that tells the story of two video game characters, Paul (SoldierBoy) and Paquine (RedSky), who strike up an unlikely romance on the Internet. The film stands out with its killer humor and sharp dialog, making it one of the smartest and wittiest shorts at the festival. Its commentary on online dating and pop culture references are right on point. As funny as it is, RPG OKC is also severely sweet and heartwarming. Somehow, you're extremely interested in the lives of these pixelated characters and want them united. While SoldierBoy seems to be a medieval warrior, RedSky seems to live in the middle of a desert, chatting online and occasionally staring at the "Sea of Nothing." But, you have so much more in common with them than you can ever know. Absolutely recommended. Watch the film here. And we hope to show it also on Film Annex!

With online film distribution, access to shorts is easier than ever. Filmmakers have more opportunities to fund their shorts now via Film Annex or crowdfunding sites like Kickstarter and Indiegogo. Here's a blog by Film Annex's social media coordinator, Jennifer Bourne, which analyzes the current state of cinema and online film financing. Take a look.

-- Eren Gulfidan

Online Film Distribution and Real Conversations Come Together at the Tribeca Film Festival

29 04 2013 16:09:11 +0000

Being part of an online platform, watching films daily on a computer screen, and corresponding with filmmakers around the world via email can make it easy to forget that films get made outside the online realm that we have all grown accustomed to and take for granted. We are so used to searching for content on the Internet that most of us don't even think about the physical collaboration that goes into the making of that film, TV show, or music video. We don't immediately think about the conversations, the meetings, the rehearsals that bring people closer and lead to the creation of what we're watching on our monitors. And, some of us still separate the world we live in into two realities: Online and offline. Attending the Tribeca Film Festival throughout the past week made me realize that the line between these two worlds has gotten less and less visible to a point where it's almost impossible for one to exist without the other. It also made me appreciate the conversations and the time spent together with people in the industry I work in so much more.

First of all, Tribeca was the most organized, friendly, and tech-savvy film festival I've attended in the past few years. The industry concierge service they had made it possible to set up meetings with filmmakers in an easy, quick, and professional way. There wasn't any room for miscommunication. The staff was attentive and helpful. The comfortable industry lounge they set up was the perfect meeting spot for a filmmaker and an industry attendee, such as a distributor or someone from the press.

I watched countless short films at this year's festival, and I watched almost all of them in the theater. Most short programs were sold out to a curious, attentive audience. After every screening, I took note of my favorite films and went straight ahead to the industry concierge where I arranged meetings with filmmakers. In addition to the one-on-one meetings I had, nighttime parties, including the one organized specifically for "short" filmmakers, the industry-filmmaker party, and finally the Heineken wrap party, enabled me to get to know the ones I met a little bit better. But, the festival was more than the abundant face-time, screenings, and conversations.

Tribeca did an incredible job creating an online screening library that the industry had full access to. So, I was able to watch all the films I didn't get a chance to see in the theater on my computer. In addition to making the festival experience easier and the films more accessible, the library notified the viewed films' PR and sales agents with the name and email address of the person who watched them. How genius is that? So the filmmaker or her sales agent immediately knows who watched her film and can contact that industry person if there's any interest. Other pluses were the easily navigated and user friendly website of the festival, which was always up to date with special events, talks, and panels. Perhaps a well-organized website leads to a well-organized festival, or vice versa. Either way, I was happy as an attendee.

When I look back at the festival, I don't only think about the screenings and the interactions I had with the filmmakers, but also the online experience. Half of the filmmakers told me I could watch their films by going to the online screening library; some gave me links to password-protected videos on Vimeo, reminding me once again that the offline and the online go hand in hand. Moreover, one of the festival competitions took place online, enabling viewers to vote on their favorite films without going to the theater.

In every single conversation I had, the response to Film Annex's model of online film distribution and online film financing was tremendous. Talking to filmmakers now compared to two or three years ago was so different. They got me immediately. When I was telling a filmmaker about being featured on Film Annex's homepage and Eren's Picks, he interrupted and said, "So it's like a game, right?" And I said, "Yes, exactly." There's no doubt that online video has advanced remarkably within the past couple years, and we all know that people are spending much more time online than they were before. So perhaps, the new, quick understanding is a sign of that. Or, it's the consequence of taking the time to talk to someone in person after watching their film in the theater and being able to put a face behind a business model or a piece of art.

My Tribeca experience overall has showed me the importance of face-to-face conversations with filmmakers and other industry members while reminding me that we live in a world where online and offline activities are inseparable. What does this say about the future of film and the future of festivals? We'll have to see in the upcoming years, but I see hope and positivity.

In my next Tribeca blog, I'll talk about my favorites shorts at the festival and my interaction with filmmakers. So come back for that!

-- Eren Gulfidan

Citadel of New York's Roya Mahboob is Amongst TIME Magazine's Top 100 Most Influential People

19 04 2013 18:09:15 +0000

This week, TIME Magazine is filling its pages with the top 100 most influential people in the world. There are 5 categories: Titans, Leaders, Artists, Pioneers, and Icons. For me, the "Pioneer" category tops all the others, as it stands for innovation, change, and hope. To me, it is the most exciting, because it means discovery! And, Roya Mahboob, who I am currently sharing an office with in the middle of Manhattan, is dominating the list of Pioneers with 4000, yes 4000 Facebook likes. Jay-Z is at a mere 1200. It's obvious: People love Roya, and they see something special in her.

Roya Mahboob is the Founder and CEO of Afghan Citadel Software Company, a full-service software development firm based in Herat, Afghanistan, providing IT assistance to businesses, private companies, government ministries, and organizations like NATO. Afghan Citadel employs 25 people, and 18 of them are women. I had the chance to get to know Roya when she partnered with Francesco Rulli, the Founder/CEO of Film Annex to start Citadel of New York and Women's Annex.

Since then, 8 Internet classroom have been built with the efforts of Roya and Film Annex in Afghanistan. Children have been connected to the Internet and offered a new school curriculum including social media and filmmaking. The goal is to build 40 Internet classrooms and connect 160,000 students to the world so that they can have a brighter future than their ancestors.

As I write this, I realize that my time spent with Roya has not solely been limited to email exchanges and office conversations. I'm happy to have spent a little bit of time with her outside, showing her around Brooklyn and helping her buy an iPhone for her brother. The time spent with her allowed me to get to know the young, energetic, chipper Roya who's changing the world step by step, a little bit better. Congratulations, once again!

-- Eren

Online Film Financing with Film Annex and Eren's Picks

16 04 2013 17:01:06 +0000

If you are a Film Annexer reading this, you already know the way we work. If you are an outsider, here is an opportunity to discover our model. I am referring to our integration of online film distribution with online film financing. There are a lot of distributors out there. Online video and content distribution have become pretty much the same thing. Websites are the new movie theaters. Computers are the new TVs. Where does Film Annex come into all of this?

In most cases, there are two types of platforms; those that are ad-supported and those that aren't. The ones that aren't offer sale, rental, and VOD services. As a filmmaker, you get a percentage of what you sell/rent. Sometimes, you get an advance payment; other times, you get paid as you go. Who are these platforms? iTunes, Amazon, Mubi, Netflix, Indieflix. The list goes on. And then, there are the ad-supported platforms like Film Annex, Hulu, and YouTube. Hulu is owned by NBC, Fox, and Disney; YouTube is owned by Google, and Film Annex is owned by Film Annex. Film Annex's advertising fill-rate is at a staggering 95% whereas YouTube's is at 10%.

The Film Annex Model

The words "award-winning" and "independent filmmaker" bring Film Annex to mind. Cat videos make one think of YouTube. And Grey's Anatomy is available on Hulu. Which one would you want to be associated with? Video ads have a lot of haters. "I don't like watching ads before videos" is something I hear often. The reality is that most people have to sit through these ads even before they watch a "lyric video" of an 80s song on YouTube. On Film Annex, the ads are part of our online film financing strategy. To put it briefly, every time you catch the first few seconds of an ad, Film Annex is paying the filmmaker, and you, as the viewer, are paying no one. Moreover, you are financially supporting the independent filmmaker without spending any money yourself. With the revenues they generate on their Web TV, filmmakers go and make new films. It's an ever-evolving cycle.

The Film Annex Cycle

In a nutshell, Film Annex is the ONLY platform that uses advertising to equally reward filmmakers for their work. With our 50/50 revenue share model, a content creator maintains a continuous revenue stream as long as he/she has a Web TV channel on Film Annex. Film Annex ad revenues are ever-increasing and for a lifetime, whereas revenues generated from online rentals, sales, and VOD are stable and often decline after the film loses its popularity.

Monthly revenues generated by Film Annex filmmakers

The Film Annex Web TV model enables filmmakers to promote their entire body of work via its platform and linked social media tools. The revenue graph and report allow filmmakers to keep an eye on their performance and how it is affecting their income. This way, Film Annex not only serves as an online portfolio for the artist, but also as a place where he/she can monitor his/her revenues on a daily, monthly, and yearly basis. All revenue statistics are real-time.

Eren's Picks on Film Annex's homepage has a $50,000 monthly budget to share with 15 filmmakers. Are you one of them? If you believe in your work and social media skills, you know you belong on Film Annex's homepage. Shoot me an email at eg@filmannex.com if you want to know more or follow my online film financing blog. Let's call this the FIRST installment.

-- Eren

Mimiking - A Japanese love story on WACKY TUESDAYS - Latest Independent Films

09 04 2013 17:09:41 +0000

Today officially feels like Spring. Finally. And what can be a more appropriate theme to talk about than love when the weather gets warm and the birds start chirping?! Last week, I started my blog with some "bedroom" talk, and this week I'm determined to continue the conversation with love and its wackiness. For this week's Wacky Tuesdays video, I chose Mimiking - A Japanese Love Story directed by Matt Pastor. The film screened in Cannes Film Festival in 2009 at the Short Film Corner, and now it's being showcased on Film Annex's online film distribution platform. Moreover, it contains pretty much everything I love: Pockys, a Rubiks Cube, cool shoes, rocks, and of course love. It also contains heartbreak, which I don't love.

In this 10-minute short, we get a glimpse into the world of Mimi, an 18-year old who is learning to cope with heartbreak. Through several flashbacks and breaking-the-fourth-wall type of conversations with the camera, we find out that Mimi moved to "this country" (presumably, the US) to learn the language and the culture, but she never thought she could also learn about love. Well, that's when she met Kingston and fell in love. The kissed, exchanged gifts, recorded each other's voices on an old tape recorder, and the list goes on... until Kingston left her.

Perhaps the the most touching and "wacky" part of the film is Mimi's rock collection. "All my life, I've been a collector. And I believe collections define their owners. I have collected much over the years, some back in Japan, but I take my stone collection everywhere with me. A stone for every person that has ever hurt me." And we see the stones one by one, each representing something different: her father's infidelity, her best friend's lie, her high school crush, etc. If you want to find out what kind of stone Kingston gets, you better watch the movie.

Besides having a heart-warming, clever, and quirky story, Mimiking - A Japanese Love Story stands out with its style and colorful props. It's an extremely delightful movie, and I am pretty sure that it's entirely different from anything else you've seen lately. So, here it is! Watch it below, and stay tuned for the latest independent films in the following week!

- Eren

Discovering Identity and Connecting Cultures with Die Welt - Latest Independent Films

05 04 2013 17:35:59 +0000

Die Welt poster - Latest Independent Films

Last week, I interviewed Alex Pitstra, the director of Die Welt, which screened at the New Directors/New Films series in New York. This week, we started editing the video. As a first-time feature filmmaker, Pitstra managed to create a spellbinding adventure with a cast of mainly non-professional actors. His success is worth noticing and following, and I'm sure we'll be hearing more about him soon.

What attracted me to the film was not just the story I saw on the screen, but also the story of Pitstra himself. Born to a Tunisian father and a Dutch mother, Pitstra didn't get to meet his father till his mid twenties. One day, he decided to visit Tunisia to see his father and meet his extended family. The experience changed his life entirely. From then on, he kept going back to Tunisia ever year and kept getting fascinated by the country and its culture. A few years later, Pitstra decided to shoot a film in his new habitat. What started out as an autobiographical story slowly developed and became the filmthat is now hitting festival after festival. The script was penned by him and his cousin who wrote most of the dialog. Some described Pitstra as the "neo-Tarantino," and the opening scene of the film is testament to that statement.

Still from Die Welt

Why is this story important? First, I'm drawn to it, because it's extremely personal. What was initially a quest for identity became a captivating and honest film filled with genuine, interesting dialog. It's engulfed with the verisimilitude of the Italian Neorealists and the French New Wave(ists) in a darker, twistier kind of way. Second, I was intrigued by the fact that Pitstra chose to shoot in Tunisia and re-connected his European roots with his Middle Eastern/North African ones.

This got me thinking about the filmmaking curriculum we're putting together here at Film Annex for children in Afghanistan. Die Welt turns the lens on the Tunisian youth who struggle to realize their dreams and feel trapped in their post-revolution country. Seeing a film shot in Tunisia that explores such a relevant and relatable topic was refreshing to me. It got me curious about what kind of stories Afghan girls and boys who aspire to be filmmakers would tell. It would be great to see personal films made in Afghanistan. It would be important for the world to see.

When I talked to director, Alex Pitstra, and his producer, Rosan Breman, both told me that they are seriously considering online film distribution for their film. This was a great thing to hear, especially because it shows that the filmmakers want their story to reach as many people as possible.

Till next time,

-- Eren

Dan MacKenzie's CREATE on WACKY TUESDAYS' Most Entertaining Films

02 04 2013 19:01:05 +0000

Yes, the bedroom is where the magic happens. We all know it. We watched people trying to show one another their bedrooms in movies. We asked our dates if they want to see our bedrooms. It all happened and is still happening. In this week's WACKY TUESDAY pick, filmmaker and stop motion animator Dan McKenzie lets us into the magical world of a young boy by taking us to his bedroom!

An official selection at Fantastic Fest, Newport Beach Film Festival, and Savannah Film Festival, where it won "Best Student Film," McKenzie's CREATE presents two parallel worlds: One belongs to a mad scientist who sets out to create a pet monster in an imaginary laboratory; and the other to the reality of a boy's bedroom. Yes, the bedroom is indeed where the magic happens. When I was growing up, I got bored with the Barbie house that was passed onto me from my sisters and started using my drawer set to build one from scratch. That's also I how I split my eyebrow open; by bumping it into the sharp corner of a drawer.

CREATE is a short and sweet stop motion film, but it's also wacky because it features a mad scientist. Though perhaps the little boy is in a way madder than the scientist himself. Even though it's only 2 minutes long, there's a whiff of Mary Shelley's good old Frankenstein in here. Highly recommended!

A recent graduate of Savannah College of Art and Design, Dan McKenzie has recently worked on the television show, Robot Chicken, and LAIKA's feature film, ParaNorman. He is currently residing and working in Portland, Oregon and is the newest member of Eren's Picks! Stay tuned to watch the most entertaining films on Film Annex's online film distribution platform. Watch CREATE here:

-- Eren

Latest Independent Films - The Revolutionary Optimists is a Catalyst for Change and Women's Empowerment

29 03 2013 18:36:33 +0000

When is a film more than just a film? How much impact does a story have to have on an audience to make a change? Is being "inspiring" enough? Or does it take more to make a truly influential film that makes a difference in the world? The Revolutionary Optimists, which opened in theaters nationwide TODAY, is the only film I have seen that achieves being more than just a film. Directed by two female filmmakers, Nicole Newnham and Maren Grainger-Monsen,The Revolutionary Optimists is an event, a campaign, and a catalyst for change.

Earlier this week, Global Peace Film Festival's Artistic Director, Kelly DeVine invited me to a special screening ofRevolutionary Optimistsat the UNICEF building in Manhattan. The 3-hour event included a panel discussion and a reception, where the filmmakers and the film's subjects were also present. Filmed over several years, the documentary follows Amlan Ganguly, a former lawyer, educator, and children's rights advocate, and three of the children he works with on a journey through adolescence, as they positively influence their communities, fight for their rights, and improve their lives.

At the center of the story is Salim, an 11-year old boy who lives in one of the poorest slums of Kolkata, India, and is fighting to bring clean tap water to his community. In order to accomplish this, Salim and his friends draw a "Google" map of their neighborhood and take it to the parliament in Delhi to prove that their community exists, and 9,000 people need clean water. Salim and his friend Sikha also fight to beat Polio by going from door to door and telling their neighbors to bring their kids in for polio vaccines. The 13-year old Sikha is also a women's rights advocate, and she fights for women's empowerment and equality between boys and girls by having the girls in her community to participate in soccer matches.

Salim working on his neighborhood's Google map

Another story is that of Priyanka, a 16-year old girl who wants to be a dance teacher but is pressured to get married to her boyfriend. If she gets married, she will risk losing her place in the dance group, her job, and her chance at getting an education.

Last but not least, we have Kajal, who wants to be a seamstress, but instead spends her days carrying 1,500 bricks on her head for a construction job that pays her $1.49. If Amlan can build a school inside the brick field she works in, Kajal has a chance at an education.

The most inspiring part of the documentary for me was the story of Salim and Sikha, who were at the screening. At the end of the film, you see that they were able to get most of the kids in their community vaccinated against Polio. The audience at Wednesday's screening also received the good news that Salim and Sikha's slum will be getting clean water in just a few months. This is an 11-year old kid who went to the Indian parliament and pitched his case to some of the highest-ranked people in his country. It was astounding for me to see the confidence, intelligence, and courage these kids had and how they used these qualities to accomplish their goals. They are able to make drastic changes in their communities while getting their education, playing sports, and having a good time with each other. Salim particularly insisted on the fact that he plays a lot of sports and doesn't spend his entire time doing "grown-up" things.

Sikha

I hope everyone gets a chance to see this incredible film. There's so much you can learn from a handful of teenagers living across the world.

-- Eren

Nobel Laureate Dr. Paul Greengard Talks about the Pearl Meister Greengard Prize and Empowering Women Through Science

27 03 2013 12:21:43 +0000

Photo by Fisher Center for Alzheimer's Research Foundation

Nobel Laureate Dr. Paul Greengard is the Vincent Astor Professor of Molecular and Cellular Neuroscience at The Rockefeller University and the Director of The Fisher Center for Alzheimer's Research. In January, we hosted Dr. Greengard at the Film Annex Studios for an interview with Ushma Neill, the Executive Editor of the Journal of Clinical Investigation. The 30-minute interview regarding Greengard's studies on neurotransmission and brain signals is part of the Conversations with Giants in Medicine series.

Dr. Greengard's studies have changed our understanding of how the nervous system functions at the molecular level and invalidated a popular misconception that all nerve cells are identical. Moreover, Greengard, in collaboration with his wife, the sculptor Ursula von Rydingsvard, established the Pearl Meister Greengard Prize to honor the accomplishments of women scientists. Named in memory of Dr. Greengard’s mother, the prize includes a $100,000 honorarium.

In support of our Women's Annex initiative, I talked to Dr. Greengard about the history of the prize, the reason for its creation, gender balance in science, supporting women scientists, and empowering women through science.

You donated your monetary share of the 2000 Nobel Prize in Medicine to Rockefeller and, in partnership with supporters of the University, you created the Pearl Meister Greengard Prize to support women scientists. Was this something you've always wanted to do? In other words, what was the main reason for creating the prize? Did you think female scientists were not getting the recognition they deserved in the field?

The prize’s namesake, my mother Pearl Meister, has always loomed large in my life though I have no recollection of her—not even a photo. She died giving birth to me, and I wasn’t aware of her existence until I was 21 years old. I have since learned from others that she was an intelligent and gifted woman. I have long wanted to give her a legacy.

When I received the Nobel Prize, my wife, Ursula von Rydingsvard, and I decided that we wanted to use my share of the proceeds to create a prize to honor women scientists. And we thought it was fitting to name the prize for a woman who might have achieved great things in her life had she had the opportunity and encouragement.

It became clear to me—based on the outpouring of gratitude that my wife Ursula and I have received because of this prize—that there is still a great need to recognize the contributions of women scientists. I have received many letters and emails from young women who attend the annual prize ceremony every year and who tell me they are inspired by the recipients.

I am pleased that the prize ceremony draws together a spectrum of supporters, from high school students with an interest in science to the upper echelons of academia. Parents bring their children, and science teachers bring their classes. There are undergrads and Nobel laureates in attendance. It’s a celebratory event and also an opportunity for a new generation of science enthusiasts to meet and learn from the experiences of extraordinary women researchers.

What are some of the main factors the selection committee pays attention to before they grant the prize to the winning scientist?

The Selection Committee considers a number of factors. The recipient must be an active scientist and have made transformative achievements in her field of study. Some of the recipients have been overlooked for major scientific awards, while some have received numerous other honors. Many have also distinguished themselves as great mentors and advocates for other women scientists.

Do you see a dramatic increase in the number of female scientists and their involvement in scientific studies since you started your career in the field?

Throughout my career, I have been aware of the discrimination that women face in science at all levels. In recent years—partially because of the feedback I have received about this prize—I have also learned about the emotional toll this discrimination has caused and how important it is to honor women scientists and support them throughout the academic pipeline.

I believe that achieving gender balance in science is a priority. Studies have shown that more women are graduating with degrees in science, but women are still underrepresented in the higher levels of academia.

At Rockefeller University I have seen great improvements since I joined the faculty in 1983. This has been accomplished in part because of the foresight of the University’s leadership and also because, as I mentioned, there are now more women pursuing careers in science.

The University has a tremendous cadre of women heads of lab who serve as mentors to our students. In fact, two of our heads of lab, Drs. Cori Bargmann and Titia de Lange, were recently selected to receive the inaugural Breakthrough Prize in Life Sciences, an award created by leaders in the technology industry—they were the only two women out of eleven recipients. Both Drs. Bargmann and de Lange serve on the Pearl Meister Greengard Prize Selection Committee, so I feel the prize is in good hands.

I am also proud that half of the scientists in my lab are women. So, at Rockefeller, I feel we are on the right track, though there is always room for improvement.

Do you think the Pearl Meister Greengard Prize will one day be given to female scientists in developing countries with fewer resources?

This is an international prize, and there are many outstanding women scientists who deserve recognition all over the globe.

Can we say that in addition to recognizing the work of women in science, the Pearl Meister Greengard Prize promotes women's empowerment? In your opinion, what are some of the ways to introduce a well-rounded education in science to schools in developing countries like Afghanistan, hoping that this education empowers the citizens in an educational, social, and financial way?

I hope that the Pearl Meister Greengard Prize does promote women’s empowerment. Every year, my wife and a group of incredible women choose a guest speaker to present the prize. We have been fortunate to have had amazing women, mostly non-scientists, present the prize.

In 2011, Michelle Bachelet was the prize’s presenter. As you may know, she is the former president of Chile and is now the executive director of UNWOMEN, a new organization within the UN to promote gender equality and empowerment. Dr. Bachelet addressed the exclusion of women in science and how detrimental this is to the progress of biomedical research as a whole. We all suffer if women are not allowed or encouraged to fulfill their potential.

As Dr. Bachelet said, the roots of this exclusion begin at a human rights level. When women do not have basic social and political rights, it is nearly impossible for them to achieve success in science or any other field.

I agree with Dr. Bachelet and I think that in order for more women in the developing world to become leaders in scientific research, they must first be given the right to quality education and the social opportunity to benefit from their education.

Paul Greengard, Brenda Milner, Michelle Bachelet and Ursula von Rydingsvard (Original photo appears on http://greengardprize.rockefeller.edu)

Watch the interview with Dr. Greengard below:

-- Eren Gulfidan

Online Film Distribution for Longer Shorts and New Directors/New Films

22 03 2013 18:03:38 +0000

March and April are great months to be in New York City if you want to see the latest independent films. Yesterday, the New Directors/New Films Series took off at the Film Society of Lincoln Center and the Museum of Modern Art. Just like Sundance and SXSW, New Directors/New Films showcase the work of emerging filmmakers. The difference is that this particular program has been supporting new, independent filmmakers for much much longer. Now at its 42nd year, the series launched the careers of some of the greatest directors/auteurs we know, such as Pedro Almodóvar, Spike Lee, Wong Kar-Wai (a personal favorite), Darren Aronofsky, Christopher Nolan and Steven Spielberg.

This is a great opportunity for me to see some new work by young filmmakers who are slowly and not-so-quietly making their mark in the independent film world. I'm particularly interested in seeing the short film programs showcasing the work of filmmakers from various countries, including Italy, Turkey (my home), and the United States. The best part of New Directors/New Series is that most of the filmmakers join Q&As after the screenings, so they are present and accessible. I can't wait to meet some of them in person.

Another thing I noticed when I was looking at the list of screenings was the duration of the movies. I saw a lot of films between 60-70 and 70-80 minutes. Usually, as you probably know, the conventional feature film is at least 90 minutes long. Just by seeing that these rather short feature films are being presented, I sensed even more flexibility, hope, and opportunity in the future of independent film. You made a movie that's only 63 minutes? Some "experts" would tell you to round it up to 90 minutes, and you would have to force yourself to write more to create something inorganic. Well, don't worry about how long your movie is. Just tell your story and let it be as long as it needs to be.

Speaking of film durations, one of my goals this Spring is to bring longer format shorts onto Film Annex's platform. I'd like to feature longer shorts on Eren's Picks as well. So if you're a filmmaker reading this, and if you have a short that's 10 to 20 minutes or longer, upload it now. Of course, the first thing I look at when I watch Film Annex films is the story and the quality of the work, but I think online film distribution is a great tool to showcase longer shorts, and I want to make the best out of it.

Come April, there will be more opportunities to delve into new films at the Tribeca Film Festival. More on that later. Enjoy your weekend, everybody! And watch my Friday pick for Film Annex Shorts.

I'm Carl by Jack Tew:

-- Eren

Is Vimeo on Demand a PRO in Online Distribution? Or is it a CON for Filmmakers?

20 03 2013 16:51:09 +0000

There has been a lot of talk over the new Vimeo on Demand, which allows filmmakers to self-distribute their films with a 90/10 revenue share. Yes, 90% of the sales (after transaction fees) end up in the filmmaker's pocket. Pretty good deal, right? Almost every news source wrote about this last week when Vimeo announced their new VOD feature at SXSW on Wednesday. The information in all the articles was the same, and it was rather limited. What they highlighted was the 90/10 revenue split, how Vimeo was creator-friendly, and how the service was only available to those with PRO accounts. All the attention and press made it look like Vimeo on Demand was making its mark on the world of online film distribution.

All is intriguing and dandy except perhaps that last detail: The service is only available to those with PRO accounts. Well, this aspect of the new feature got some backlash from Vimeo users, calling it "commercial" and an "unclear promise of actually helping filmmakers find their audience." One filmmaker talked about how users need to pay $200 up front and how difficult this is for small producers. A Vimeo PRO account costs $199.

It's true that Vimeo never had and still doesn't have any advertising on its platform. Though it's undeniable that part of its income revenue is coming from its own users/filmmakers who pay $199 a year. Considering that almost all professional filmmakers have a Vimeo PRO account, that's a substantial total sum right there. I don't think it would be false to say that Vimeo is dependent on its filmmakers to survive. So, instead of looking at this new service as a "favor" or a "selfless innovation," I see it more like Vimeo finally giving its filmmakers something in return.

There are of course some issues. Let's create a hypothetical scenario here: I am a filmmaker with a Vimeo PRO account, and I paid $199 up front. So that money is gone. I created a Vimeo on Demand page for one of my movies and am selling it for $5 a copy. To make up the $199 I spent to get the PRO account, I need to sell roughly 40 downloads. AND THEN, if I want to make profit, I need to sell more.

Now, I'm a huge believer in buying movies. I still buy the DVDs of my favorite classics, and I don't hesitate to spend my money on something meaningful that I'll get to keep forever. However, paying for a short film that I haven't heard much about when I know that I might potentially watch it for free on a different platform will be in the back of my head when I'm purchasing that film. Paying for downloads is still a grey/iffy area, and unless you really like a certain movie and want to keep it forever or you want to specifically support that filmmaker, you just don't pay for it.

A filmmaker featured on Film Annex's homepage makes (on average) between $1000 and $2000 a month via advertising revenues. Let's say $1500 for this argument's sake. On Vimeo on Demand, to make that amount per month with the movie you posted, you need to sell 300 downloads/copies. That's a very high number if you're not an indie filmmaker star or an expert in marketing films. I think the numbers speak for themselves.

I think this is a good experiment for all filmmakers to try out and see the results of their sales versus the revenue they generate on Film Annex's film distribution platform. Internet lets you try everything at the same time! You might say, well what if I'm not featured on the homepage? Let me tell you that if you're a filmmaker with great films, you will get your chance. Plus, with good social media presence and promotional skills, you will be sure to generate some revenue on your channel, and you won't have to pay any fee up front.

-- Eren

Illustration: "Troubled filmmaker" by Eren Gulfidan

Beyond “Beasts”: The Art of Court 13 at Contemporary Arts Center New Orleans - Beasts of the Southern Wild

15 03 2013 15:53:40 +0000

I took a 4-day trip to New Orleans last week to attend the opening of Beyond “Beasts”: The Art of Court 13 at the city's Contemporary Art Center. My cab driver was kind enough to pretend to be my tour guide for 20 minutes as we drove from the airport to the museum. I knew nothing about New Orleans and didn't know what to expect. At the end of the trip, I found myself not wanting to leave. It's definitely one of the most magical places I've ever been to, a place that exists in its own reality, where people seem relaxed, cheerful, and sincere. At least, that was my first impression. I'll have to go back to find out more.

When I got to the museum late Thursday, the artists who were involved in the exhibition were prepping for the following evening's opening. The show, which is running through June 16th, features the work of Court 13, the film collective behind the Oscar-nominated film Beasts of the Southern Wild. The walls of the space were covered with still photographs from the movie as well as references that inspired the story. There was still a bit of cutting, building, hanging, and painting going on, but there was no doubt all preparations would be finished by the next day.

Paul Korzan (Lead Artist) and Ray Tintori (Unit Director) at work - Aurochs and Special Effects Unit

At the show, original artworks and installation pieces allowed viewers to go behind the scenes to see the props, models, animals, and sculptures used in the movie. Hand-painted wooden signs, animal posts, Auroch costumes and head-pieces that were worn by pigs, and The Turk, Wink’s famous truck boat, were all beautifully displayed. The exhibition was testament to the talent and passion of all the artists who worked on the film as it re-created the mystical aura ever-present in Beasts of the Southern Wild.

Scenic Director Z Behl prepping a few hours before the show

Multiple LCD screens were placed throughout the room, displaying making-of videos, interviews, and audition tapes. Every aspect of the movie's creation was there for the visitors to see. It was exciting to watch how actors were directed, scenes were shot, and sets were built. In the age where online video is so prevalent, it was refreshing to have all this material inside of a beautiful building.

The show also featured Court 13's early films and materials relating directly to their creation. Ray Tintori's Sundance Film Festival winning short film Death to the Tinman (2007) was screened right next to the Tinman costume hanging from the ceiling (Tintori re-built the costume specifically for the show).

Benh Zeitlin (far left), Director of Beasts of the Southern Wild, doing last minute arrangements before the show

Participating artists included:

Alana Pryor Ackerman, Z Behl, Alex DiGerlando, Crockett Doob, Josh Ente, Meredith Groves, Nathan Harrison, Mai Arakida Izsak, Paul Korzan, Emilia Mello, Jess Pinkham, Ray Tintori, Sophie Tintori, Benh Zeitlin, and Eliza Zeitlin amongst others.

Interviews with the film's producers and special effects artists are soon to appear on Film Annex. In the meantime, if you're near New Orleans, go see this amazing exhibition! If you're not near New Orleans, still go see it as it's worth the 3-hour plane ride.

-- Eren

Filmmakers Today - Floris Kaayk's Origin of Creatures on WACKY TUESDAYS

05 03 2013 17:35:48 +0000

The Origins of Creatures is not your typical end of the world film. In fact, it's probably better than every end of the world movie you've ever seen, because instead of Tom Cruise and Arnold Schwarzenegger, you watch fused body parts (mostly fingers, eyeballs, ears, and feet) showing off superb acting skills. With all the technology around us, filmmakers today can get pretty creative, but the Netherlands-based filmmaker Floris Kaayk has redefined the limits of human imagination for me.

Produced in 2010, The Origins of Creatures is a short film that combines incredible CGI skills with breathtaking cinematography. In Kaayk's words, the film, based on the tale of Tower of Babel, is "a futuristic vision of a world after a catastrophic disaster." What we see is separated (and then re-united) body parts trying to rebuild a devastated city in ruins. The mission is to create a big and lofty nest so that the colony's queen gets enough sunlight to reproduce. I won't tell you if the little creatures accomplish their mission or not. This post contains no spoilers!

This beautiful film (I never thought fused feet and fingers could look so attractive) is perhaps the wackiest film I've featured on Wacky Tuesdays so far. It's absolutely a wack fest. Kaayk's film has gotten thousands of views on the web as well as mentions on Wired and Short of the Week. On top of that, it won an Honorary Mention at the famous Prix Ars Electronica festival in Linz. The Prix Ars Electronica is one of the most recognized annual prizes in the field of electronic and interactive art, computer animation, digital culture and music. So, kudos to Kaayk for all these achievements. I added The Origins of Creatures to Eren's Picks and hope that this will bring Kaayk even more exposure and revenues on Film Annex's online film distribution platform.

So, I leave you with the film and the credits now, because everyone who worked on this film deserves recognition! One thing that would be fantastic is if Kaayk let us go behind the scenes of this gem and shared some of his secrets on how to achieve such beautiful imagery and how he came up with the wacky idea of fused body parts.

Creator: Floris Kaayk
Produced by: Marc Thelosen
D.O.P.: Reinier van Brummelen
Composer: Lennert Busch
Sounddesign: Bart Jilesen, Erik Griekspoor, Elena Martín Hidalgo
Trainee: Vincent van der Klaauw

Financially supported: Netherlands Film Fund, Rotterdam Media Fund, Stroom Den Haag

See you next Tuesday,

-- Eren

This Week's Recap: How To Empower Women, Latest Independent Films, Interviews

01 03 2013 15:18:46 +0000

This week, I've been in touch with influential women and men from both the non-profit and the entertainment worlds. Farzana Kashfi works as a Senior Manager in the Education Program at BRAC Bangladesh, focusing on adolescents and youth. She provides adolescent girls in rural areas with comprehensive support structure and works with the urban youth in Bangladesh to develop their skills through informal markets. She also provides regular support in BRAC’s work focusing on youth in Uganda, Tanzania, South Sudan and Afghanistan. Kashfi and is currently developing a comprehensive Global Adolescent and Youth Strategy for BRAC. During our email exchange, she mentioned that "BRAC has been working in Afghanistan for close to a decade now and I believe [Women's Annex] and BRAC share a mutual interest in empowerment of women and girls." I'll be interviewing Kashfi within the upcoming weeks about how to empower women, and I'm excited to collaborate with BRAC's New York City office.

Another contact I heard from was Lynne Patterson, the Co-Founder of Pro Mujer. I am fascinated with Lynne's story and how she dedicated her life to empowering women in underprivileged countries. In 1990, Lynne moved to Bolivia with her family and partnered with Carmen Velasco (Pro Mujer Co-Founder) to develop training programs for women receiving donated food. These training programs included business, child development, and health and family planning, all of which led to the formation of Pro Mujer. Lynne expanded her foundation's efforts into Nicaragua, Peru, Mexico and Argentina while opening Pro Mujer's international headquarters in New York City. Honored by the International Development bank as a “Woman Microfinance Pioneer in Latin America” in 2009 and recognized as “Community Crusaders” at the annual “CNN Heroes: An All-Star Tribute” ceremony in 2007, Lynne will be a great role model for women in Afghanistan. We set up a meeting for late March, and I'm excited for her to share her experiences with everyone at Women's Annex.

I also reached out to Alexis Lloyd, the Creative Director of Research and Development Operations at The New York Times for an interview request. Alexis was a speaker at the Connections: How the Internet of Things is Transforming Our Social World panel during Social Media Week. At the panel, she discussed the ways social connections have moved on and what this means for the rest of us. I think Alexis can bring in a different perspective to Women's Annex and share her expertise on Internet and Technology. This will be crucial for our platform, especially considering that Internet and Software Development are on the rise as far as industries go in Afghanistan.

Still from Kristoffer Borgli's short film, Real Life Exp.

While reaching out to these influential women for Women's Annex, I didn't forget about filmmakers and the latest independent films. Kristoffer Borgli and Elias Belkeddar are two filmmakers whose work I've been following lately, and I've asked them to join Film Annex. Kristoffer Borgli is garnering much attention with his music videos, short films, and commercials. I personally enjoy the Norwegian director's unique style, the blunt narrative situations he creates, and the unconventional music video formats he puts out. I think he'll be a great addition to Film Annex's online video platform. Elias Belkeddar also has an impressive resume as a young director. I featured his music video Stuck Together on my Wacky Tuesdays blog earlier this week, and I look forward to seeing what else he can surprise us with.

I also added new videos and two filmmakers to Eren's Picks; Miguel Angel Font Bisier and Elissa Bogos. Miguel is a director, editor, cameraman, writer, and musician from Spain. After studying violin for 18 years and piano for 4, he is now composing and supervising all of the soundtracks for his films. He is mostly known for his fashion films. Elissa is a photographer and filmmaker working in Afghanistan. She initially came to Kabul as a volunteer photo editor for Aina, Afghanistan's first independent photo agency, and fell in love with the country so much that she found it nearly impossible to leave. Her photos and videos have appeared in The Guardian, The New York Times, BBC, USA Today, PBS, ITV, among others.

Lastly, I sent out a series of interview questions for Matthew Modine's short film Jesus Was A Commie. Hope to share the interview with everyone soon.

Have a great weekend!

-- Eren Gulfidan

New Music Videos on WACKY TUESDAYS - Spoek Mathambo's Stuck Together by Elias Belkeddar

26 02 2013 17:41:55 +0000

For this week's Wacky Tuesdays entry, I struggled choosing between two new music videos. The first one is sort of an archetypal hipster video in which hipsters wear costumes or weird animal masks and dance around awkwardly. The second video shows an old couple staring at a spider, burning books (Fahrenheit 451, anyone?), dancing on their own, making faces in the mirror, spacing out, taking showers with their clothes on, crying, and cuddling/making out underneath their crispy white sheets, just like Romeo and Juliet! I think the choice is obvious here. I go with the second. This awesome and wacky video is directed by Elias Belkeddar for the South African musician SPOEK MATHAMBO's song Stuck Together, and it beautifully tells the story of an elderly couple who seem to be, well, stuck together till death do them apart.

Excuse my advertising language, but this video was like a fresh breath of air for me and it felt like I just had an Altoid. First of all, has anyone noticed that it's 4:3 (or a bit over)? In the world we live in, where everything is 16:9, crisp and clean and high definition, it was just nice to see something a little bit dusty and square. It was kind of like waiting for a good video to watch on VH1 in the 90s. Yes, that's the feeling. Stuck Together is a well-shot, well-lit, nicely designed video, but what really makes it good is the man and the woman who amazingly depict the emotions they depict on camera. As soon as I started watching, I was like, "Who are these people? What are their names?? I want to stalk them. I want to cast them in my movie. I don't have a movie, but I'll make one just to have them in it." So yes, I truly enjoyed this video, and I am pretty sure you will too.

Here's a bit more about the musician: Real name: Nthato Mokgata. City: Johannesburg. Genre: Afro-futurist, rebel, pure sonic power. Father Creeper, released in March 2013, is his second album, and it's been described as "challenging and attractive as life in our electrified, apocalyptic 2012."

The director, Elias Belkeddar, remains mysterious, but don't be surprised if you see new videos by him on Film Annex's online video platform sooner or later.

And once again, thank you to Fred Kurzh and FAMusic TV for bringing this video onto our platform. Stay tuned for more online music videos. And watch Stuck Together below:

-- Eren Gulfidan

Guest Lecturing about Online Film Distribution, Production, and Marketing at NYU

22 02 2013 15:22:31 +0000

Wednesday night, I had the opportunity to guest lecture at New York University's School of Continuing and Professional Studies. The class I taught was called Online Video: Strategy, Development, Distribution, and Marketing. I discussed in particular the Film Annex vision and business model, online film distribution, basic production methods, strategies for social media to engage audiences, and my own work.

The class is taught every Wednesday night by John Ovrutsky, who is a graduate of my alma mater, Franklin and Marshall College. It was an honor and pleasure for me to be a guest lecturer in his class. The students were very receptive, involved, and interested. It was a great experience overall, and I look forward to more teaching adventures!

I started off the lecture talking about the differences between personal and client work and the importance of discussions and teamwork during production. I showed the students four different videos we produced for Film Annex's client Cupcake Digital:

Interview with Susan Miller, Cupcake's Co-Founder and Executive Producer

Interview with Brad Powers, Cupcake's Co-Founder and Chairman

The Creative Process at Cupcake Digital by Creative Director, Christine Norrie

Cupcake Digital - Kids at Play

My intention in showing these videos was to explain how different styles of production serve different purposes and satisfy different needs. For example, while the corporate interviews are good for introductions and updates, the last two videos are more fun and engaging, inviting the viewer behind the scenes to look at how the creative process works at Cupcake. The students were quick to spot these differences, notice the camera angles, and figure out the intentions behind our production crew's decisions.

I continued the lecture by introducing two of our filmmakers, Ken Turner and Jeff Chiba Stearns, who are not only great animators, but also very active social media users. Together, we looked at how these filmmakers are promoting their work online, how many followers they have on Facebook and Twitter, what kind of posts they put up, what kind of blogs they post, what their official websites look like and which social media outlets are they linked to, what they sell in their art stores, the benefits of crowdsourcing etc. We also talked about the importance of branding, promoting the hell out of yourself without being afraid to be perceived as pompous or arrogant, and of course being proud of your work. All these were important factors in understanding how to engage audiences and be influential on the web.

Throughout the discussion, Film Annex's business model came up numerous times, and we discussed why our online video platform was different than others. One of the students was quick to realize that "Nobody in the film and entertainment industry does what [we] do." Another student immediately noticed the similarity between Klout and Film Annex's BuzzScore.

I finished off my presentation showing examples from my own work, including the music video and the album teaser I've made for singer/songwriter, Hee Young. I hope my lecture was helpful for all the students and they all made some new discoveries. I hope to see them one day on Eren's Picks on Film Annex's homepage :)

To see my presentation online, visit slideshare.

-- Eren Gulfidan

Social Media Week: Women's Empowerment and Girls Education with Fereshteh Forough in NYC

20 02 2013 15:53:31 +0000

This morning, I woke up earlier than usual to meet with my colleague Fereshteh Forough, one of the co-founders of Women's Annex, to attend Girls Education and Women's Empowerment in Real World Social Networks, a Social Media Week panel that focused on female empowerment in developing countries.

The panel was introduced and moderated by Scott MacMillan, the Communications Manager of BRAC USA, a non-profit organization that empowers people and communities in situations of poverty, illiteracy, disease and social injustice. MacMillan opened the session with a 40-year old anecdote to explain the power structure in developing countries, particularly in Bangladesh, which is where BRAC was founded back in 1972. Though slightly long and complex, the intro achieved to shed light on the power struggles, corruption, and injustice, especially towards women, that is still prevalent throughout the globe.

The panel started getting interesting for me when the female leaders of the three featured non-profit organizations began to share their stories. Christen Brandt, the Director of International Operations at She's the First was the first speaker, and she talked about how her organization is helping girls in poor countries realize their full potential and continue with their education. With the Starfish Mentorship Program, She's the First, assigns mentors to young women to break the cycle of early marriage, giving birth at a young age, and lack of education, things that their mothers had to go through. Starfish not only educates, but also empowers young women with knowledge and skills in areas like reproductive education, financial literacy, health, and critical, independent thinking.

Up next was Farzana Kashfi, the former Senior Manager of the Education Program at BRAC Bangladesh. She's currently getting her Master's Degree at Columbia University. Kashfi spoke extensively about education outside the classroom and safe spaces for young girls. She also talked about financial empowerment for women in Afghanistan and encouraging girls to sit in shops to learn unconventional trades. I liked this idea immediately, as I thought this would a) push young women out of their comfort zones and encourage them to be braver, and b) show the men in that particular society that women can work outside of their homes and be expert at any type of trade without feeling any sense of gender discrimination. Kashfi added that it was important for women to work so that they could support their own education. "You have to create awareness from bottoms up to tops down," she finally stated.

The final speaker at the panel was Lynne Patterson, the co-founder of Pro Mujer, an organization that delivers a holistic package of services like financial opportunities, business empowerment, and healthcare, to underprivileged women in poor and developing countries.

One of the last questions at the Q&A following the discussion amongst the panelists was about social media. An audience member asked how these organizations were integrating social media strategies into their platforms. To my surprise, the answers from the panelists and the moderator was unsatisfactory. In fact, only Christen Brandt from She's the First spoke about the positive effects of social media use on her organization's efforts and outreach. This is where Fereshteh and I came in. It was the perfect opportunity to introduce Women's Annex and how we're building schools in Afghanistan, opening Internet classrooms for middle and high school students, creating a social media and filmmaking curriculum for Afghan girls and boys.

The response we received from the panelists was extremely positive, and we can't wait to collaborate with them on this project. I was thrilled to learn about all of the organizations I mentioned in this blog today, and I really think that we are filling the missing puzzle pieces with Women's Annex.

More soon...

- Eren Gulfidan

Eren's Recap: Female Empowerment with The League, Cherry Lane Theatre, One Billion Rising

15 02 2013 11:53:02 +0000

This week was very inspiring for me. I met wonderful people, attended amazing events, and interviewed powerful and inspirational women about theatre, the arts, and female empowerment.

Carnegie Hall, February 12th, Tuesday

I will remember Tuesday night as the meeting of cultures. It was my first time at Carnegie Hall, and I got to see students from the Afghan National Institute of Music perform with those from Scarsdale High School. In addition to introducing us to traditional Afghan music, the young musicians performed western classics like Vivaldi’s Four Seasons, Ravel's Bolero, and Chopin's Nocturne in C Sharp Minor. Thank you, Francesco, for making this night possible along with Fereshteh (Women's Annex) and Mike (Target Marketing Annex). Music is a great tool that brings people together and promotes peace, just like film. I really enjoyed the ensemble's rendition of Bolero - it was so powerful and had hints of Afghan music in it. Combining eastern and western instruments and music was key to the performance, because I took it as a symbol for promoting peace in Afghanistan with the help of Western allies. Foreign forces might be leaving the struggling country in 2014, but I think this performance was proof that Afghanistan will stand for its culture and traditions and won't be afraid to show the world what she's got! With all the talented, passionate kids, the future of Afghanistan is bright, and Afghanistan's culture will keep expanding.

Wednesday night, I attended a networking event organized by the League of Professional Theatre Women. Thank you, Mari Lyn Henry, once again, for inviting me to this amazing mingling session, which brought together so many special women. From actors to theatre makers, from producers to advertisers, the night was filled with the chatter and laughter of talented women who were existing or prospective members of the League. One of the prospective members I met, Laura Hooper, told me she is a theatre maker, and when I asked her what that means, she said she puts together plays in unique places like supermarkets and people's kitchens. How awesome is that? I've never heard of this type of theatre before, but when I talked to a few people about it afterwards, I was informed that it was a kind of street theatre that was prevalent in the 1960s. I kept thinking about how cool it would be to host a play in MY kitchen, and how fun it would be to see a play that took place in a supermarket. Laura is already one of my new favorite people, and I can't wait to meet more women like her, which is why I should join the League (if they'll have me of course)!

Thursday was one of the best hectic days I've had recently. I had two video interviews with two incredibly talented and inspiring women: Jenny Lyn Bader, the Artistic Director of Theatre 167, and Angelina Fiordellisi, the Founder and Artistic Director of the historic Cherry Lane Theatre. With Jenny Lyn, we talked about her play 167 Tongues, which is a part of the Jackson Heights Trilogy, currently up at 777 Theater in Manhattan. I recently wrote about this great play in my blog, and I recommended it to everyone. In addition to being an eye-opener by introducing the audience to different cultures co-existing in one neighborhood, the play takes us back to the basics, the emotions that make us empathize with one another like love, loss, compassion, jealousy, and anger. I also talked to Jenny Lyn about her theatre company, Theatre 167, her plays, and how to empower women through theater, writing, and the arts at large. It was also fascinating to find out that both Jenny Lyn and I, when we first started writing, told our stories through the eyes of a male narrator. This shows how much we were influenced by the male perspective, the cultural default setting, and how as we got older and got to know ourselves better, we were able to shift to the female perspective.

Jenny Lyn Bader and Angelina Fiordellisi

Later in the afternoon, I met with Angelina, and honestly, I could talk to her forever. She's one of the most inspiring people I've met. I was so fascinated by her story, her background as an actor, how she revived Cherry Lane Theatre when it was falling apart and how she has been running it so successfully since then. We talked about how she met Edward Albee and got him involved in Cherry Lane's Mentor Project. We also discussed the Celebrating Women Playwrights Program and why it was important for women in developing countries and all over the world to be introduced to theater as a way of self-expression and empowerment. Both videos will be online soon, and I can't wait to share them with you!

OK, I'm wrapping up. But, there's one more thing. You might be yelling at the computer screen right now, "Isn't your week over already?!" Almost! I promise. Last night, for V-DAY celebrations, I went to the Hammerstein Ballroom with my dear friend, actress, writer, and activist, Lillian Rodriguez for the One Billion Rising event to stop violence against women around the world. Amongst the speakers were Glenn Close and Rosario Dawson, and we watched the live performance of the song, Break the Chain TWICE!

Glenn Close and Rosario Dawson

One Billion Rising is a global movement that was initiated by Eve Ensler, the writer of Vagina Monologues. It's inspiring millions of women to speak up about abuse, rape, and violence. For more information, please visit their website. My goal is to promote the movement's videos also on Film Annex's online film network. At the end of the night, Lillian's eyes were glowing, and she said she felt like her heart was expanded. I think she had a Eureka moment.

-- EREN

Filmmakers Today - Kim Holm's RELEASE THE FREQ on WACKY TUESDAYS

12 02 2013 16:33:32 +0000

Does anyone remember that song Rabbit in Your Headlights by UNKLE, featuring Thom Yorke, and more importantly the amazing video directed by the one and only Jonathan Glazer? I think Glazer might still be my favorite music video director ever even though he has been missing from the scene lately. BUT, I might have a new favorite guy now. His name is Kim Holm, an artist, designer, and director from Norway, who is responsible for this week's WACKY TUESDAYS video - Release the Freq by MATTA, a dubstep duo from England. Mr. Holm stands behind all the intricate and superbly imaginative details of this video including the design, direction, cinematography, editing, 3D & Animation, so basically... everything that makes this video amazing.

There's no plot to summarize or a story to tell. This is a video that will hit you like no other, because it's just visually breathtaking, inexplicable, beautiful, and of course according to me, wacky. Is Film Annex's online film network turning into an online network of wackiness? Perhaps, but all these videos I'm highlighting in the Wacky Tuesdays series are so original and creative that I don't see any harm in getting a little crazy. This video is proof that filmmakers today are taking more chances, especially with music videos, and they aren't afraid to produce material that is very out there and somewhat bizarre. I can't even tell you how happy I was to see just deers in this video and not a bunch of women shaking their booties, "the youth" doing hip things, or someone singing next to a fog machine. All I can say is that this video is an adventure and you should join the ride.

This video is part of the Film Annex Music Web TV, so thank you, Fred Kurzh, for scouting it. It would be great to see more videos from Kim Holm on Film Annex. And now I leave you alone with this wonderful and wacky video. Please enjoy it to the fullest as this might be your only chance to get back to nature today.

-- EREN

167 Tongues, Meeting Jenny Lyn Bader, Female Directors, Playwrights, and Producers

11 02 2013 18:02:39 +0000

Yesterday, I spent the afternoon watching a wonderful play, 167 Tongues by Ari Laura Kreith, a female director. The play is part of the Jackson Heights Trilogy, produced by Theatre 167. Thank you, Mari Lyn Henry, for inviting me! The play explores the emotional geography of Jackson Heights, the most culturally diverse neighborhood in New York City, and apparently in the world! There are 37 characters in the play, and their stories intersect along the way, producing a heartfelt, imaginative, humorous, and touching whole. It was an absolutely pleasurable 2 hours, and it was eye-opening to witness the stories of all the characters from so many different backgrounds. From the Ecuadorian girl who hates her mother to the aspiring Puerto Rican stand-up comedian, I already have my favorite characters down. I couldn't help but ask, "Who this and who's that?" as I watched the actors perform, because I wanted to learn more about them.

Still from 167 Tongues

167 Tongues and the Jackson Heights Trilogy is a Theatre 167 production led by two women, ARI LAURA KREITH (Artistic Director) and JENNY LYN BADER (Co-Founder, Director of Artistic Development). I had the opportunity to meet with Jenny Lyn Bader who is one of the writers and the producers of the play. Other plays Bader penned include Mona Lisa Speaks (Core Ensemble), None of the Above (Lion Theatre), first produced by New Georges (w/ Alison Pill) and published by Dramatists Play Service; Manhattan Casanova (Hudson Stage), winner of the Edith Oliver Award (O’Neill Center), also seen at Guild Hall (w/ Mercedes Ruehl); and In Flight, which won the NAAA Festival in London. Bader also authored both seasons of the web drama Watercooler (MSN) and He Meant, She Meant (Warner Brothers). A Harvard University graduate, she also frequently contributes to the New York Times.

I think Jenny Lyn is a great role model for all women who want to tell their stories, and I'm excited to introduce her to our Women's Annex audience. The play really resonated with me and showed me once again that despite our differences, the emotions we feel, our basic needs, and our empathy for one another brings us closer. There was a lot about the way we connect with each other in the play, the way we express ourselves, our need for friendship and intimacy. With Women's Annex and Film Annex's online film network, our goal is to bring women from different backgrounds under one umbrella and give them the tools to express themselves through online film distribution. Watching a play directed by a female director and co-written by a female playwright will be inspiring for all women in Women's Annex, and I recommend this event to everyone!

For more information, visit the play's website.

-- Eren

Re-Discovering Film Annex's Online Film Network

08 02 2013 17:18:42 +0000

Still from Jon White's Pancakes

Whenever I talk about Film Annex's online film network, I always say that animation is the strongest genre on our platform. But today, I think I proved myself wrong. As I browsed the new films on our platform, I came across a filmmaker called Jon White from Staffordshire University and was blown away by his films. It was refreshing for me to watch shorts that were 15, 20 minutes long as opposed to the 5-minute duration I was used to. The argument is that people can't focus on a video for more than 4-5 minutes when they're on the internet, but perhaps we can change that by presenting exciting material that is well-made. After all, don't we always go back to the stories that stick with us? That mean something to us? We can watch a visually striking 4 minute short that is super cool and talk about it for awhile. Maybe it becomes a viral phenomenon for some time, but then it might be forgotten... Whereas, a short film that is not so short, which tells a good story and resonates with us, can stay with us for a long time.

Still from Jon White's Wooden Heart (also, handsome bloke)

That's how I felt when I watched Jon White's Pancakes and Wooden Heart - two films with great performances and interesting stories. I don't want to get too sentimental, but these films were like a breath of fresh air to me and they opened up a new window in my brain. I decided that I should pursue more longer-format shorts for Film Annex's online film distribution platform and highlight these films more frequently. Jon White and most of his films are now part of Eren's Picks so you should be seeing more gems from him soon.

Staffordshire University isn't an unfamiliar name/place for us. We have many filmmakers on Film Annex who attended this school and made great movies. In fact, some of them, such as Mark Kuczewski, Sorcha Anglim, Amy Hill, and Andy Parker, whose Web TVs generated between $10,000 - $20,000 individually, are our most active filmmakers and appear in Eren's Picks on our homepage. Having all these filmmakers who studied together on our platform shows the solidarity behind filmmaking and how "word of mouth" is still effective in the times of social media. And it's really all about seeing results. As our filmmakers secure a steady income with their films on Film Annex, they tell others to do the same. It's not rocket science.

This week was inspiring for me as I contacted inspirational people, including Gayle Nachlis from Women in Film, Debra Zimmerman from Women Make Movies, and Zainab Salbi from Women for Women for interview requests and to introduce them to our new platform, Women's Annex. Moreover, my article about women's empowerment was published on TakePart.com. But most importantly, I feel like I re-discovered Film Annex this week, and it felt great.

Till next week,

EREN

Film Annex is Democratizing Online Film Distribution with Advertising

06 02 2013 17:16:00 +0000

The Film Annex Team in New York

Every online film network brags about what sets them apart from others. When it comes to Film Annex, I can easily say that our original content is our biggest strength. The best part of browsing Film Annex is coming across new filmmakers with unique styles. Recently, I got hooked on a female director's work. Her name is Raquel Yunta, and she makes simple, almost childish, 2D animated films. She describes her own style as simple, clean, and comic. Another aspect about Film Annex that makes it special is the fact that it brings film distribution and advertising together for the benefit of the filmmakers. When I see Raquel's films, The Bench, Fix the Dancer, and The Painter, my initial instinct is find out more about her and her work. I'm curious to see if she's been using her blog and photo galleries to share her process. I want to know if she is revealing any secrets about her future projects. So, I immediately check her profile.

To my surprise, I don't see any blogs or photos on Raquel's channel. However, I know that her three animated films already make her a strong candidate to be part of Eren's Picks. I contact her to tell her how much I enjoy her films and encourage her to work on her channel in order to promote her work in the most effective way possible. Currently, Raquel's BuzzScore is 28, and her revenues add up to only $3.36. I know that Raquel can earn hundreds of dollars, if not thousands, with her movies, if she becomes a featured filmmaker on our homepage and joins Eren's Picks. So I guide her through the process. And this is another aspect that makes Film Annex special. We work with the filmmakers on an individual basis. I haven't heard any filmmaker telling me that they were contacted by Vimeo or YouTube to work on their channels, because they have the potential to earn so much more with their films.

There is a reason why Film Annex is an ad-supported platform; half of the generated revenues on a channel goes to the filmmaker. I find it ironic when a filmmaker complains to me about the pre-roll ads before his videos and then goes and shoots a commercial for a big brand or a corporation. At Film Annex, we're using advertising as a way to democratize online film distribution for filmmakers. To learn more about how to join Eren's Picks and increase your revenues, visit this page. We always look forward to working with new filmmakers and supporting them throughout their journey.

-- EREN

Eren's Recap: Op-ed for TakePart, Teaching at NYU, and New Female Filmmakers

01 02 2013 18:10:35 +0000

I wrote my first op-ed today with contributions from my colleagues, Jennifer Bourne and Fereshteh Forough, for TAKEPART. And it feels great! Allan MacDonell, the senior editor of TAKEPART.com, the leading source of socially relevant news, features, opinion and entertainment pieces, had contacted Jennifer to request a piece about our new platform, Women's Annex, and our opinions on women's empowerment. Penned by a Turkish, a French, and an Afghan woman, I hope this article sheds light onto the women-related issues we are addressing and the solutions we are bringing to them with the help of Women's Annex. I'll let you know when the article is published, but in the meantime, you can read an excerpt from it:

"Like any other art form, filmmaking is a tool for women to tell their stories. The Sundance Institute study reflects the reality that women are not given equal opportunities as men when it comes to telling their stories, being financially self-sufficient, and taking charge in the workplace.

If women keep facing these obstacles when they are embarking on their projects, how can they get their message across to their audience?
If they are not given equal financing opportunities as men, how will they tell their stories?

Women’s Annex was launched to address these issues and others.

Women’s stories are equally important and marketable as male-created stories. Every woman who registers on WomensAnnex.com controls her own web channel that she can curate with videos, blogs, and photos. Female content creators such as filmmakers and bloggers can upload their films and videos to connect with their viewers. Other participants can curate their channels with films and videos by their favorite filmmakers on the platform. All women get paid for their content via the pre-roll advertising that is displayed before their videos. In addition, all bloggers get paid for their approved articles."

TakePart is the digital division of Participant Media, the company behind important films such as An Inconvenient Truth, Waiting For Superman, Food Inc, Good Night & Good Luck, Charlie Wilson’s War, Contagion, The Help, and many others. It's a wonderful coincidence that the organization is tied to a company that produces remarkable films, and I'm excited to explore opportunities for collaboration there as well.

This week, I got offered to guest lecture ANOTHER class at NYU, this time a Storytelling class taught by screenwriter, Misha Votruba, who has been a Film Annex member for many years now. Looks like I have a lot of prepping to do this month, but I'm thrilled about all these opportunities and to be sharing my knowledge with students.

On Tuesday, I met a new female filmmaker, Mrinalini D.S. from India, who is starting production on her new short film, Red Mondays and Turquoise Twos. I'm currently putting together interview questions for her and her crew, who I'll be interviewing next week at the Film Annex studios. I'm also going to talk to Mrinalini about women's role in the film industry, the challenges, the advantages, etc.

I am also in the process of contacting a list of influential TV writers and producers this week who are behind the most popular TV shows today, such as Diablo Cody, Lena Dunham, Mindy Kaling, and others. I'm excited to see how everything is coming together, from new contacts and interviews to blogs and guest articles about Women's Annex and women's empowerment through online film distribution. Stay tuned for more news next week.

-- EREN

WACKY TUESDAYS - TALKING HEADS by Dominique Palombo

29 01 2013 18:25:41 +0000

How do we fight? How do we talk it out? Communicate? This week's WACKY TUESDAYS video, TALKING HEADS by Dominique Palombo, uses dance as a tool for communicating our anger with the intent to reach a resolution. But whether we win or lose the argument, we feel better at the end of it all, take a deep breath, and start over.

Choreographed and performed by contemporary dancers, Lucie Augeai and David Gernez, also known as Compagnie Adequate,TALKING HEADS is an incredibly creative and wacky video that amuses and entertains. Moreover, it makes you think about the fights you had and how ridiculous you (probably) look when you're yelling at someone. I also enjoyed the fact that Palombo portrayed anger in a non-violent, comical way, almost like a skit from a slapstick comedy. But, you can't deny the modern aura the video gives off, the cool attitude of the dancers, their clothes, and haircuts!

Dominique Palombo is known as the "master of movement," and every video you watch by him makes you want to get up and silly dance. There's a lot of flexibility and freedom in his work, but the end product looks nicely polished, crisp, and clean-cut in a way. The music is in the video is composed by Anthony Rouchier aka A.P.P.A.R.T. Enjoy!

More about the short filmmaker (his words):

"The current push in the industry towards motion is one that has thoroughly fascinated me. Directing, DP, are not so unfamiliar from the still world, but it is the ability to edit that has proved to be my most powerful and surprising tool. It sounds boring, but you learn that it shapes the viewing experience to such an extent that it has more to do with my films being great or terrible, than most people realize.

Along with that, I have had the opportunity to work with dancers in my recent projects and it has opened my mind to new ways seeing movement and discovering how riveting it can be.

You quickly find that originality of movement can make someone beautiful and compelling, and the opposite is true as well….

Although born in France I have spent most of my life in the US. I currently base myself between Paris and New York."

More wackiness to come on Film Annex'sonline film distribution platform. Till next WACKY TUESDAY,

EREN

Eren's Recap: New Tests on Examer, Film Annex Industry News, Female Role Models

25 01 2013 16:53:58 +0000

This week, I added three new tests on Examer:

How to Use a Canon 5D Mark II by Andy Parker
The Basics of Screenwriting by Lisa Stock
Afghan Proverbs: Friendship by Captain Edward Zellem

I also received new questions from Sorcha Anglim about pre-production aka how to prep for a movie. Sorcha said she'd be interested in teaching the students about producing, and I think it's a wonderful idea. There are a lot of female producers out there, and it's the kind of job that gives you a lot of power as well as creativity. Sorcha and I talked about giving the Afghan students a script that they can "break down" and analyze and then asking them questions like:

How many actors will you need?
How many props will you need and what are they?
Which locations do you need to find?

I love this backwards puzzle mentality Sorcha proposed, because it will give the students the opportunity to identify the props, the cast members, and the locations in the script, which are key to the film!

In addition to the above, I am working with Alex Nakone on some questions about How to Use Adobe Premiere Pro! So now, in addition to Final Cut, students will also be able to use Adobe if needed. This new test will be up shortly when we put together more questions.

Earlier this week, my colleague Jennifer and I started our new Film Annex Industry News blog. My first entry was about Sundance Film Festival, which is coming to an end in 2 days, and the female talents in it. I talked about several young female directors, such as Hannah Fidell and Eliza Hittman who are making their debut at this year's festival. I also talked about a great new documentary Girl Rising, which chronicles the lives of young girls in countries such as Afghanistan, India, Cambodia, Ethiopia, and Haiti by looking at issues like the lack of education, underage marriage, and sexual assault.

I continued the week contacting several organizations about our Women's Annex initiative, including Women Make Movies and Hoshyar Foundation, a secular, non-profit, U.S.-based organization whose purpose is to raise and distribute funds in support of human empowerment through female education.

Mari Lyn Henry

I also edited two interview videos of Mari Lyn Henry with our editor, Semyon, We cut the 40 minute conversations into two parts, and after many edits, created two separate videos, one on theater, acting, and working women, the other on women's empowerment and Afghanistan, 12 and 7 minutes respectively. I think Mari Lyn is a great role model for women all over the world, and my goal is to invite more women like her to our studio to inspire others.

The rest of my week consisted of adding new films to Eren's Picks and contacting filmmakers about including them in the featured filmmaker list. I'm also in talks with Jeff Chiba Stearns, an animator on Film Annex, about teaching Afghan kids how to animate with tutorials, specifically designed and created with his distinct style.

Lastly, I got my moment of fame by being interviewed by Fereshteh Forough about the filmmaking curriculum we are building for Afghan kids, as well as my thoughts about replacing the war and the military presence in Afghanistan with entertaining movies, fun, and creativity after the NATO withdrawal.

-- Eren

This Week: Guest Lecturing at NYU, Mari Lyn Henri, Larry Clark, Women's Empowerment, and Online Film Distribution

18 01 2013 12:39:43 +0000

It's always nice to finish off a week with good news and new connections. A few days, ago I was offered to guest lecture at an NYU Continuing Education class taught by John Ovrutsky. I immediately said yes as I was thrilled about the opportunity. The class is mainly about video production, marketing, and distribution for businesses. And hey, that's exactly what we do at Film Annex, so I believe I have a lot to say! The class is on February 20th, and I'm going to start prepping for it soon. Especially looking forward to the Q&A session with the students...

On Wednesday, we had Mari Lyn Henry, the Vice President of Programming at the League of Professional Theater Women and the author of How To Be A Working Actor, The Insider's Guide to Finding Jobs in Theater, Film, and Television. Mari Lyn Henry is an inspiring woman and probably one of the most well-spoken and articulate people I had the pleasure of meeting. We had an extensive conversation about women in the entertainment industry, women's empowerment, Film Annex's new Women's Annex initiative, her book, and so much more. The interview will be up next week for everyone to see. It was great to get Mari Lyn's feedback on the topics we're exploring, and I think she would be a great mentor for Afghan women. Here are the questions I asked her during our interview.

Can you tell us about the mission of League of Professional Theater Women and its influence on female playwrights, directors, and actors since its emergence?
How and when did you get involved with this organization and what are some of your duties within this community?
You are also the author of the book, How To Be A Working Actor, which has been in publication for the past 25 years. Can you tell us about this book, what made you write it initially, and the success behind it?
What are the top 3 suggestions you would give to a young female actor who is trying to break into/excel in the entertainment industry?
In your opinion, what are some of the ways to empower women who work in film, TV, and theater? What kind of initiatives and projects can bring about empowerment and equality?
What do you think might be the main challenge for female filmmakers, writers, actors in developing countries like Afghanistan and Central/South Asia?
What do you think of the Film Annex initiative, Women's Annex, and its operation in Afghanistan and Central/South Asia?

This week, I added a new filmmaker to Eren's Picks. Documentary and animation filmmaker, Jeff Chiba Stearns is now at number 9 on the featured filmmaker list on our homepage with a BuzzScore of 57. I sent Jeff some tips on how to increase his score, move up in the list, be more social, and generate more revenues. In fact, Jeff's revenues have increased by 100% in the past 3 days. His animated film, Yellow Sticky Notes, which was featured in my WACKY TUESDAYS blog this week, was a favorite amongst the Film Annex team, and Francesco suggested that his animation style would be a great fit for students in Afghanistan. So, I'm in talks with Jeff about this and a possible collaboration on our Examer project to educate Afghan students in filmmaking and social media.

Larry Clark (looking a bit like Ringo Starr in this picture?!) Photo by Richard Blanshard/Getty Image

I also contacted what some people might call "a cult filmmaker" this week - Larry Clark, who is best known for his Harmony Korine-scripted film Kids and his photography book, Tulsa. Clark is famous for his visual narratives documenting the American youth and especially the subculture that celebrates punk, surfing, and skateboarding. After watching an interview with him on Nowness, where he talks about his new film, Marfa Girl, I decided to contact him. In his interview, Clark mentioned that his film will only be available online, because he knows that people will end up watch it on their computers anyway. I liked the 69-year-old director's attitude and reached out to him to see if we can promote Marfa Girl on Film Annex's online film distribution platform as well. Will keep you posted about the (good) news!

Till next week,

EREN

Judo Team Championship, Showdown with six teams from Brazil, Canada, France, Germany, Russia, USA - New York Open Team Judo Ch

17 01 2013 16:47:54 +0000

NEW YORK, NY, January 13, 2013 – Film Annex is proud to be sponsoring The New York Open Team Judo Championship, a showdown of Brazil, Canada, France, Germany, Russia and USA, on Sunday, March 3, 2013, in NYC at the New York Athletic Club, 180 Central Park South, New York, New York. The teams in the Judo tournament include some of the strongest players in the world, featuring World Champions and London 2012 Olympians. The tournament is sponsored by Film Annex, United Water and the New York Athletic Club.

The event begins at 10 am, followed by a Sambo demonstration by top Russian Sambo masters and a judo rules demonstration by two-time Olympian Taraje Murray.

At the event, US Olympian Kayla Harrison, London Gold medalist; US Olympian Travis Stevens; and four-time Olympian Jimmy Pedro, Bronze medalist and 2012 Olympic coach will be honored.

Each team consists of five athletes in the following weight divisions: 66 kg, 73 kg, 81 kg, 90 kg and over 90 kg. Total prize money of $10,000 and a coveted champion's plaque is at stake: the winning team will receive $7,000 and the champion’s plaque to proudly bring back to their native country. Second place team will win $3,000.

Germany, the New York Open Team Champion for 2011 and 2012, is returning to defend its hard fought title. Team USA will be fighting to take revenge over their narrow loss in the final against Germany. Team France, the 2012 New York Open Bronze medal winner, is competing for the second time in the team event. Team Canada is always a tough challenger, and Team Brazil and Team Russia are power-packed and strong contenders in the quest for the championship plaque. The five-man team competition will utilize a round robin format.

The coach of Team USA is Jimmy Pedro, two-time Olympic medalist and 2012 US Olympic Judo team coach, and the coach of Team Canada is Nico Gill, four-time Olympian and 2012 Canada Olympic Judo team coach. The coach of team Brazil is Ney Wilson Pereira da Silva, 2012 Brazil Olympic Judo team coach, and the coach of Team Germany is international champion Toni Lettner. The coach of Team France is international coach Maxime Nouchy, and the coach of Team Russia is Olympic medalist Alexsei Budõlin.

Team Judo is the most exciting Judo competition in the world to watch, and cheering for your favorite country is encouraged. Fans wave country flags and root for players, rocking the room with energy and good-natured rivalry, and at this event a live commentator calling the action on the mat and a DJ all add to the spirited atmosphere.

The judo tournament will be held at the New York Athletic Club, located at 180 Central Park South on the 6^th floor. All spectators are welcome, and tickets can be purchased for $25 at the door for general seating, $85 for VIP seating. The tournament action will begin at 10 am, semi-finals at 2 pm and the finals after 4 pm.

For more information about the New York Open Team Judo Championship, visit http://www.newyorkopenjudo.com or facebook.com/NewYorkOpenJudo.

About Judo

Judo debuted as an official Olympic sport in 1964 and is practiced by millions of people throughout the world today. Kayla Harrison won the first gold medal in judo for the United States at the 2012 Olympic Games. The discipline of Judo is a Japanese martial art and combat sport that originated in Japan in the late nineteenth century. Best known for stunning throws, Judo also involves much grappling on the ground like wrestling, but adds submission chokes and arm locks to the mix.

Judo, translated as "gentle way," teaches balance, leverage and flexibility in performing throws and other skills, and helps to develop complete body control and fast reflexive action. Skill, technique and timing, rather than brute strength, are the essential ingredients for success in this sport. Worldwide, over 20 million people practice judo, with all age groups, both sexes and disabled persons all able to participate in learning and practicing in the sport.

Judo develops self-discipline and respect for oneself and others, and helps teach self-confidence, concentration and leadership skills. It's no coincidence that several world leaders have also studied Judo, including Russian Prime Minister Vladimir Putin, former Prime Minister of Canada Pierre Trudeau, former U.S. Senator of Colorado, Olympian Ben Campbell, and former President Theodore Roosevelt, as well as many celebrity judo practitioners, including director Guy Ritchie, actors Chuck Norris, James Cagney and Peter Sellers.

Watching a Judo Competition

After a ceremonial bow, each judo match begins with each opponent grabbing each other by collars and sleeve of the judo uniform, the judogi. The object of the match is to score an "ippon," which wins the match – this is akin to a knockout in boxing or a pin in wrestling. Scoring an ippon can occur from a) throwing the opponent to the ground so he lands on his shoulder or back; b) pinning him to the ground on his back for a length of time; or c) forcing him to submit to a choke or armlock. Any of these score ippon and wins the match. Although an ippon is the objective, there are also partial points scored during the match. Points can be awarded when a variety of throws or blocks are successfully accomplished. At the end of the match, the highest quality score wins.

About Film Annex

Film Annex, an official sponsor of the event, is an online film distribution platform and Web TV Network with over 40 million monthly unique visitors and 220,000+ registered users. The company creates free Web TV channels for content providers and supports them financially through an ad-revenue sharing model. A meeting point for filmmakers, film festivals, film enthusiasts, companies, and organizations, Film Annex educates and entertains audiences by making meaningful, diverse, and high-quality films available to a global audience. Film Annex also supports athletes and Olympic sports like Judo and Fencing. For more information about Film Annex, visit http://www.filmannex.com.

About the New York Athletic Club

Founded in 1868, the New York Athletic Club boasts a unique history. The NYAC organized the first US championships in boxing, wrestling and outdoor track and field and has supported amateur athletics since its founding. From a silver medal won by a NYAC member in the first modern Olympics (1896) to Kayla Harrison's gold medal in London, NYAC members have won over 250 Olympic medals.

About United Water

United water is a division of Suez Environment. The company focuses on protecting our environment and serving the community, Today and tomorrow. We know the two go hand in hand. That’s why everything we do is focused on what you need today while we plan and prepare for what the world might need tomorrow. Clean water. A healthy Earth. For your small corner of the world and for the global community. Every day we’re your vital resource, providing stewardship of our most vital natural resources. For more information, visit www.unitedwater.com.

Contact

Carrie Gray

New York Open Judo

(516) 967-4729

publicity.judo@gmail.com

www.newyorkopenjudo.com

Contact

Eren Gulfidan

Film Annex

eg@filmannex.com

###

Wacky Tuesdays - Yellow Sticky Notes by Jeff Chiba Stearns

15 01 2013 17:51:29 +0000

Jeff and his Post-it notes

Jeff Chiba Stearns is a super prolific, Emmy® nominated and Webby award winning documentary and animation filmmaker on Film Annex's online film distribution platform. Even though he joined us recently, Jeff has 20 videos on his Web TV. One of these films is called Yellow Stick Notes, an extremely creative, imaginative, and fun short, hand-drawn animated film. The winner of over 12 awards, Yellow Stick Notes screened at over 80 film festivals! I was initially going to say "countless" film festivals, but then I actually counted them, and yes, the number is literally over 80.

We always talk about shorts (or features) that do extremely well at festivals but fail when it comes to distribution, as part of our usual business conversations. With shorts, it's especially difficult to find distribution. The upside is that they can bring you a lot of recognition and open new doors. I feel like at Film Annex, in addition to giving short filmmakers exposure and helping them gain recognition, we're doing something else - helping them earn revenues via advertising dollars and get paid for blogs on a regular basis. And this takes us one step ahead of the game.

For my weekly Wacky Tuesdays series, I chose to highlight Yellow Sticky Notes, because even though it's not necessarily bizarre like my previous choices, the idea and the concept behind it is crazy. Jeff Chiba Stearns went ahead and made an animation based on 9 years of his life. Plus, "the entire film was animated directly onto 4x6 inch yellow sticky notes with only a black Staedtler Permanent fine tipped marker. 2300 yellow stick notes were used to complete the film and the process took 9 months to complete. Animation was captured using a digital Canon SLR camera and camera stand. The final digital cells were color corrected in Photoshop and then compiled in Final Cut Pro." This entire process, my dear readers, sounds a little wacky to me and requires extreme diligence and Buddha's patience.

Jeff and his Web TV is now part of Eren's Picks! So you'll be definitely seeing more of him. He's already very active on our platform with his films and blogs and doesn't hesitate to take his audience behind the scenes with his making-of videos. A great filmmaker to keep an eye on! Watch the video below:

EREN

Interview with Nilu Sherpa, Female Director from Nepal - Empowering Women Through Film

10 01 2013 17:31:18 +0000

"I have always believed that film has no language, no country, no border. A film is just a film. With quicker and easier access to the Internet, the world has become smaller, and one voice can reach a million voices in no time. Films are like fuel to fire. A voice to the masses. Women can talk about their issues and come up with solutions that can be brought about only by the medium of films. So I think films can be a major tool for women to empower themselves and each other. "

Nilu Doma Sherpa is a female filmmaker from Kathmandu, Nepal, who has recently joined Film Annex with her film, KAGAJ (Paper). A recognized figure in the Nepalese film industry, Sherpa is now opening up to the rest of the world and promoting her films globally. In our interview, Sherpa and I discussed many things, including what it is like to be a female director in Nepal, how she funds her projects, the role of education in films, and empowering women through film. Read our interview to find out more, but first, watch her short film KAGAJ below.

How did you come up with the concept for your film, "Kagaj"? Were you intending to make a film about the importance of education all along?

Kagaj, which means “paper” in English, was a concept I thought about for awhile, but I never really had anything that pushed me to do it. I have always believed that emotions are the core of any action, and if an action leads to the stirring of an emotion, then it’s an action well executed. When I saw street kids, I always knew that education would make a difference in their lives, and how they got this education was the question. That is how the concept of “Kagaj” was born. I want to make meaningful films. I would like to be able to use any genre to make a film that makes sense. I wanted to make this film all along, but had to wait till I put my team together, and I think it was definitely worth the wait.

How did you fund this project and what was the process of casting like?

The funding of this project was from home. My mother gave me the money to make this film. It’s always difficult to convince people to invest in a project, and it’s the same here in Nepal. Short films have no market and people don’t invest in them unless it’s to advertise a product or organization. Social videos are not really invested in because there is no remuneration for it. We had long discussions about the cast. At one point, we wanted to take real street kids and shoot the film over a period of time. That was not feasible due to the lack of finances. On the other hand, we wanted to work with professionals to save time, but then again their fee was something we could not afford. We had a friend running an orphanage and shelter, Khusbu Oli, and she allowed us to use the children in her orphanage for the film. We went and talked to the children and told them the story. They were very enthusiastic about it and related to the story, because these were children who were once street kids. They pulled off the expressions fantastically.

How would you describe the state of the film industry in Nepal right now?

I think we are at a morphing stage in Nepal. The film industry is at a point where new and old filmmakers are at loggerheads. New wave cinema is taking over. Small budget experimental films are really breaking through the market. But at the same time we are losing the quality in films. Everyone is in a rush to make films and release them, so I think for a small country like Nepal, there are too many films but not enough screens to screen them. The state of the film industry in Nepal is right at the edge. Make or Break.

How long have you been involved in making movies and what made you want to pursue a career in film?

Films have always been a passion. In my early days, I was an avid movie watcher, but when the time came to picking a career – and trust me, I have tried many things – nothing settled, calmed, excited, and satisfied me as much as making movies. It has now been almost 10 years that I have been actively involved in making films, but it is the first time I stepped outside my shell to finally make the movies that I want to make.

What is it like to be a female filmmaker in Nepal today? Any challenges? Advantages? Disadvantages?

There aren’t many female filmmakers in Nepal. As a child, I always wanted to be the first woman to direct a movie here, but with time I realized that it is not as easy. This is a field dominated by men. Many a times, I find myself to be the only female on set. I strive everyday to prove my ideas when my work is at par with, if not better than, my male counterparts. Also, finding funding for a film to be directed by a female director is close to impossible so I fund my films by myself.

As a filmmaker, the advantage of being a female filmmaker in Nepal is that I am a known face in the film circuit because there are very few filmmakers. So I know that everyone is talking about me and watching my next move closely, which makes me cautious of what I do next, because I have yet to prove myself. The main disadvantage would have to be the fact that I have to struggle for everything that I do. I have to convince people 5 times more than other filmmakers to be part of my film.

Do you think film can be a tool for women to empower themselves and each other? If yes, how so?

Absolutely. Not just for women, but all of mankind. If there is a subject or an issue that one feels strongly about and believes in, then there is no better medium than film to make people understand the issue. I have always believed that film has no language, no country, no border. A film is just a film. With quicker and easier access to the Internet, the world has become smaller, and one voice can reach a million voices in no time. Films are like fuel to fire. A voice to the masses. Women can talk about their issues and come up with solutions that can be brought about only by the medium of films. So I think films can be a major tool for women to empower themselves and each other.

Can you talk about some of the new current/new projects that you're pursuing?

I am currently planning a feature about the coming of age story of a teenager. A boy who has a big imagination and what happens when his imagination and real life clash. It is a dark comedy about how life can still be full without having to be the coolest or the best looking person in class.

Interview by Eren Gulfidan

Wacky Tuesdays - BE MY YOKO ONO by Reptile Youth (Dir. Lucy McRae)

08 01 2013 17:11:21 +0000

This video will have lovers and haters just like Yoko Ono has lovers and haters. The official music video for Reptile Youth's Be My Yoko Ono is filled with creative motion graphics, clever animation, and most importantly crazy wackiness. "Be my, my Yoko Ono/For you I'll break up my band" sings the Danish post pop/punk duo as their faces get printed onto the pages of an interactive pop-up book, a block puzzle game, Quicktime player, and other multimedia screens. Moreover, the handsome-ish faces of these young gentlemen get re-constructed on jello and are worn as masks by a group of strange people. Lots of bizarre behaviour to make your Tuesday so much better!

The music video was directed by Lucy McRae in collaboration with Hyper Island Motion Graphics 13 in Stockholm. The Scandinavian influence is definitely visible in the pale colors and the blue tones present throughout the video. There is a coldness to it that makes you feel like you're inside a laboratory the whole time. And who doesn't want to hang out in a laboratory? Boring people.

Many thanks go to Film Annex Music TV's curator Fred Kurzh for uploading this video. Without further ado, here's BE MY YOKO ONO by Reptile Youth.

Watch more online music videos on FA Music TV and discover the latest independent films on Film Annex's online video platform.

Till the next Wacky Tuesday,

EREN

Film Annex - Reshaping Film Distribution - A Platform for Exclusive Premieres

04 01 2013 12:22:28 +0000

There is no doubt that Film Annex is taking major steps towards re-shaping film distribution. A few years ago, not many filmmakers considered online film distribution platforms as an option to fund and showcase their projects. I remember talking to countless filmmakers about the Film Annex model and seeing the confusion on their faces. What they were used to was sending their films to festivals hoping to get theatrical and/or TV distribution - a method that has been around since the beginning of this industry.

Within the past few years, things started changing. There was much discussion about VOD and online film distribution. There were believers and skeptics. There were panels and lectures about possibilities and failures, blogs like Ted Hope's Hope For Film, conferences like Open Video, talks at SXSW. During this time, Film Annex continued to shape its business model into what it is today - a perfect circle that enables filmmakers to fund and distribute their films on the same platform. And now, more and more filmmakers are choosing Film Annex as a place to premiere their films and do exclusive screenings.

We started the new year with the premiere of a short film by one of our most active filmmakers, Alex Nakone. A doctor by day and a filmmaker by night, Nakone raised the funds for Ouroboros with the help of sponsors and his Film Annex Web TV revenues. In a recent article on After-Set called Rethinking Film Distribution, Film Annex was mentioned as one of the leading choices in film distribution today. Upon reading the article, Alex Nakone commented:

"As an independent filmmaker from South Australia across the globe from the headquarters of Film Annex in New York, and never actually meeting these people, I can attest to the great reach of this platform. They are making possible the distribution of film content of Independent filmmakers like myself.This is why, I have chosen to release my latest film project exclusively on Filmannex. Check it out."

Still from Alex Nakone's Ouroboros

As the Creative Director, filmmaker liaison, etc., getting this type of feedback is extremely valuable to me and confirms that we are doing something right. During an earlier phone conversation today with producer, Adam Rackoff who frequently collaborates with actor/director Matthew Modine, we talked about how film festivals are starting to lose their influence on reaching audiences. There might still be skeptics out there, but I believe that by now, it's already proven that the most effective way for a filmmaker to reach her audience is the Internet. The truth is that the majority of filmmakers are now more concerned with the number of people they reach instead of giving priority showing their films in a movie theater.

Another long-time filmmaker on our platform, Lisa Stock, also informed us that she will be premiering her new web series Persephone on Film Annex in March. Within the following months, we'll be doing a special screening of Matthew Modine's Jesus Was A Commie with exclusive interviews and behind the scenes videos. So, Modine fans should hold tight!

Till next time,

EREN

Ouroboros Premieres on Film Annex - Interview with Director, Alex Nakone

03 01 2013 16:25:21 +0000

Still from Alex Nakone's Ouroboros

Early this week, Alex Nakone premiered his latest short film, the visually captivating Ouroboros on Film Annex. With its Sin City-esque style, mysterious characters, and philosophical story, Ouroboros tells the tale of how karma affects two underworld figures.

I interviewed Writer/Director, Alex Nakone about the film. You can watch Ouroboros on Nakone's Web TV.

When were you first introduced to the concept of Ouroboros and why did you want to make a movie about it?

I was interested in making an experimental film where the beginning and end of the film were the same. The Worm Ouroboros, a heroic fantasy novel by Eric Rücker Eddison, first published in 1922, also achieved a similar result. It so happens that the Ouroboros is a symbol represented in jewellery, particularly rings, and I found it intriguing that The Worm Ouroboros was published prior to Tolkien’s The Lord of the Rings by some 32 years and in fact Tolkien praised this book and based his famous trilogy on a ring.

So, I set out to achieve a short film itself becoming a cycle. The film begins in reverse motion, then reaches a point where a decision or choice is made, as in this case between two gangsters on a cliff’s edge exchanging some money, then proceeds in forward motion to the same point where the film began in reverse. This underlying simplistic concept, however, underwent much development and the “cycle” was broken in the final film. It became a way to build a story around the main character “Frank Shaunessy”, played by Dan Hynes, who was being ripped off in a deal. Frank is a hardened “old world” gangster linked to the Mafia with both Scottish and Italian descent. The reverse sequence was used quickly to set up Frank’s brutal past and emphasize the danger to the younger Latino gangster, Emilio Sanchez played by Raphael Felix, as he attempts to short change Frank. When the film reaches forward motion, we become aware that Frank is immersed in a supernatural experience which leads to his epiphany. Frank is confronted by a vision of his blonde Geordie sweetheart, Bonnie, who speaks about the Ouroboros and Frank’s ‘cycle of violence’. The concept of the Ouroboros now starts representing the pattern of behaviour and choices that the characters were making in their lives.

Can you talk about your choice of color and style? Why you started out with black and white and shifted to color later?

I wanted to explore “black and white” with a splash of colour (most often red) a color treatment famously used by Robert Rodriguez in Frank Miller’s Sin City to enhance the storytelling, making a distinction between what was real in the story, which was in black and white and that which was imaginary, in color or in reverse motion. I felt that adding the scene in colour where Frank reminisces about his lover Bonnie Adams, building on that Sin City color treatment.

Technically it was very difficult to achieve and I spent hours preparing an elaborate storyboard (see attached plates) from photos taken of the actors and locations.

Both Fiona De Caux (the producer) and myself also carefully cast the actors to enhance the “visual nature” of this film with two distinctly contrasting looking gangsters, one an older gangster style mafia looking figure (Dan Hynes) and one a Latino gangster (Raphael Felix, lead singer of the Aussie Hip Hop band terra firma”). Additionally, Dan had a very dark complexion and I wanted to contrast this with an actress who was almost snow white blonde (Fiona Delaine). These color choices also carried through in the production design, the choice of locations, costume and makeup departments.

What made you want to use a narrator in the film who repeatedly explains the concept of the Ouroboros to Frank and the viewer? Was getting across the meaning of this symbol to the audience the most important factor in the film?

The narrator is Bonnie Adams played by Fiona Delaine. Frank is vexed by hearing her voice in his mind, questioning his almost automated response to kill his opponent. This automation or viscous cycle is represented by the Ouroboros ring.

There is no doubt that exploring this symbol was paramount for me in making this film. It was also the notion of breaking Frank’s cycle of violence in his microcosm, which I hoped would reflect the macrocosm of the cycle of war and violence in the world.

I also wanted to explore the “antihero” theme which is becoming popular in modern TV series such as Breaking Bad, Boardwalk Empire and The Sapranos. In the scenario set up, I was trying to make the audience fear our protagonist (Frank), to be concerned for the Latino gangster, Emilio Sanchez, but the tables would quickly turn so finally the audience begins to sympathize with Frank, but ultimately question, “Does Frank deserve our sympathy?”

Who/what were some of the inspirations behind this project? The "reverse" conversation in the beginning reminded me of the dream scene with Laura Palmer in David Lynch's Twin Peaks. Any inspiration there at all?

I have mentioned some of my influences including Frank Miller’s “Sin City’, and the TV series Breaking Bad, Boardwalk Empire and The Sapranos. I suppose the question is why are contemporary audiences so fascinated by anti-heroes? Whatever the answer, I think the “anti-hero” protagonist opens up a myriad of creative opportunities.

I hope to make films that not only tell relevant stories, but to explore the film medium as a moving visual artwork. I look to filmmakers like David Lynch who achieve this and yes, I loved the total “creepiness” in that reverse sequence in Twin Peaks. It created a very disturbing atmosphere which I thought would work perfectly on the edge of the cliff in Ouroboros.

How did you get the necessary funds to make this film?

The producer of the film Fiona De Caux worked tirelessly in getting local business sponsors for this project that provided products. Just to thank them again; Sentanta South Australian wines, Tiltili wines of Langhorn Creek, Pikes wines, PGH bricks and pavers, Coopers Brewery, Nippy’s orange Juice, Domino’s Pizza, Foodland South Australia, Aroma Fresh Coffee, and Eastside Automotive, Adelaide South Australia.

The film still cost about $AU 12-14,000 to make. My production company Alex Nakone Films provided this money. I would also like to thank Film Annex as my earnings on this fabulous platform went into this budget, so I thought it only fitting that the internet premier be on Film Annex.

Lastly, what are your expectations from this film? Are you sending out to festivals? Will there be a feature based on it?

My hope is all of the above. The film is currently being distributed to International Film festivals, by an organization in Melbourne, Australia called Circuit Breaker Films, but I thought it best to take my opportunity to release it to Film Annex online whilst I was in the list of “Eren’s Picks”. Short film distribution clearly needs to involve the internet and not just be limited to festivals.

I have written the script outline for a feature length version of this film, filling in the back story as to how the two characters arrived at the meeting point on the cliff’s edge. I have brought in a range of new characters and have explored all themes I talked about more completely, as well as bringing in the contemporary issues of the changing face of crime (in cyberspace). If the feature film got funding (to those who might be interested out there?) it would contrast old versus new criminality. I have very much been influenced by Misha Glenny who wrote Mcmafia: A Journey Through the Global Criminal Underworld and Darkmarket: How the Hackers Became the New Mafia . I think these titles tell it all. The vision for the feature length film is the two leading characters immersed in an action packed battle between new and old crime, done in a contemporary and aesthetically pleasing way.

Interviews with Female Directors & Animation Filmmakers, Updates on Examer by Eren Gulfidan

28 12 2012 16:33:13 +0000

Today, I had a meeting with Soraya Arrabal, a Spanish filmmaker who is working on a feature-length film about women's empowerment. A lawyer with a special interest in human rights, Soraya will be joining our team of bloggers to write about women's rights.

I also had the opportunity to exchange more emails with Kabul-based, Afghan female director, Alka Sadat, who sent me links to her films. I invite you to watch her work on her website. I sent Sadat some interview questions via email, which will soon be published on Film Annex. In addition to discussing her work specifically, I was interested in learning more about working as a female filmmaker in Afghanistan.

Posters of Sadat's films

Yesterday, I worked with our editor, Semyon Maltsev, on an interview with animation filmmaker, Nick Fox-Gieg, which we shot last week. Nick is an award-winning filmmaker whose work was showcased in many film festivals, including SXSW, Ottawa, Rotterdam, and TIFF. His film, The Orange, won the jury prize for Best Animated Short at SXSW 2010. Nick is currently a Fellow at the Eyebeam Art and Technology Center in NYC. You can watch our interview below. Let me know what you think about our new font choice! :)

Speaking of interviews, after the new year, we'll have three industry people at our studio. The first two are Luis Blanco and Michael Uman, the Creative Directors of Interspectacular, an NYC-based animation and motion graphics company. With Luis and Michael, we'll talk about the future of animation and digital distribution. The second interview will be held with Mari Lyn Henry, Director ofProgramming at the League of Professional Theater Women and the author of How To Be A Working Actor, which has been in publication over 20 years. We'll talk about what's it like to be a woman working in the Film and TV Industry.

Last, but not least, I've spent considerable time in corresponding with our filmmakers, Mark Kuczewski, Amy Hill, Lisa Stock, Anderson West, Alex Nakone, Andy Parker, Jonathan NG, and Ken Turner about the filmmaking curriculum they're helping us create for Examer. So far, I've received:

1 multiple-choice test about Final Cut Pro (20 questions)
1 multiple-choice test about Canon 5D (20 questions)
2 multiple-choice tests about basic cinematography (10 questions each, 20 questions total)
1 multiple-choice test about basic editing

In the upcoming week, I will work with the filmmakers to create more tests on:

Animation (different methods by different filmmakers)
Screenwriting
Storytelling, and more...

I'll catch everybody in the NEW YEAR!

Eren

Filmmaking Curriculum on Examer & Empowering Women Through Film by Eren Gulfidan

21 12 2012 17:43:03 +0000

As I leave another week behind, I feel excited about the new connections I formed and the projects I embarked upon. The most exciting part of the week was my correspondence with Film Annex filmmakers about the Afghan Development Project and our technology platform Examer. Earlier in the week, I got in touch with several filmmakers who are on Eren's Picks, to see if they would be interested in contributing to the educational curriculum we are preparing for students in Afghanistan. My colleague and Film Annex's Social Media Coordinator, Jennifer Bourne, and I worked together on creating a social media curriculum accompanied by questions about how to use Film Annex. Now, we hand the flag to our filmmakers so that they can share their knowledge with high schoolers in Afghanistan.

I was amazed and humbled by the positive feedback and excitement I received from Mark Kuczewski, Amy Hill, Lisa Stock, Anderson West, Alex Nakone, Andy Parker, Jonathan NG, and Ken Turner. I'd like take this opportunity to thank them once again for their enthusiasm and interest in working with me to create a filmmaking curriculum for Afghan students. Perhaps, we'll inspire many Afghan kids to become the next generation of filmmakers and artists in Central and South Asia. Each filmmaker I listed above will be creating tests and/or essay questions about particular topics like animation, screenwriting, directing, storytelling, etc. Some will go more specific and prepare questions on Final Cut Pro, Adobe After Effects, Adobe Premiere, Canon 5D, amongst others. This positive response reminded me once again how special Film Annex is, and in addition to being its own city like Francesco wrote in his blog, it is first and foremost a family. I'll keep you posted about the progress on our new curriculum, which will be introduced to Afghan students via Examer.

On Tuesday, animation filmmaker Nick Fox-Gieg visited Film Annex for an interview. It was great to meet Nick in person. We had an extensive chat about digital media, animation, video, Creative Commons, and the festival circuit, before we sat down for the interview. Nick was great in front of the camera, and it was interesting to learn more about his career, the success of his animations online as well as at festivals. Stayed tuned for the interview with Nick Fox-Gieg including excerpts from his animations.

I also had the opportunity to connect with several new female directors this week, including Alka Sadat, Saba Sahar, Nilu Doma Sherpa, Surakshya Basnet, and Soraya Arrabal - two Afghan, two Nepalese, and one Spanish filmmaker. Text and video interviews with these filmmakers are in the works, and this is the first towards our goal of empowering women through film.

Speaking of empowering women through film, I had a great conversation with Mari Lyn Henry, Director ofProgramming at the League of Professional Theater Women and the author of How To Be A Working Actor, which has been in publication over 20 years. After the New Year, we will have Mari Lyn in our studio for a conversation about women in the arts, the difficulties, and of course the opportunities. I find Mari Lyn and her work inspiring, and I think she will be a great mentor for female filmmakers not just in the Western world, but also in South and Central Asia.

The rest of my week consisted of writing my WACKY TUESDAYS blog, preparing and proposing a new layout for our Web TV channels, re-working some of the details on our homepage, such as the Film Annex welcome message, and creating a proposal for a new community page. Last but not least, I'm working on adding a Film Annex Studio section to our company info section and making some changes on there as well.

As a Christmas and New Year's gift, I got myself this awesome piece of artwork (original copy!) by Charles Pieper. Check it out! Happy Holidays, everyone :D

-- EREN

Wacky Tuesdays - EYE CONTACT by Charles Pieper

18 12 2012 18:51:33 +0000

Illustration by Charles Pieper. See more of his artwork here.

Since I started doing the Wacky Tuesdays blog, I've been noticing how fast the week flies by. And I run after it with my flyswatter to smash it (or stop it from going by so fast). In any case, I fail. It's almost 2013, and it's yet another wacky Tuesday. Today, I want to highlight one of my favorite wacky videos by one of my favorite animation filmmakers on Film Annex, the one and only Charles Pieper. Pieper has been presenting his films on our platform for more than 3 years now, and he is one of the most prolific, young filmmakers I've met. His film, EYE CONTACT (2007) is about the interaction between a man and a woman (or a boy and a girl) who sit awkwardly at a table trying to make conversation. As wacky as it is, it's also very familiar... Don't we all feel a little shy sometimes? Or have strange interactions with one another? Say, I wish I said this or I wish I didn't say that?

"Eye Contact is a stop motion animation shot with an old Bolex on 16mm film. It's both wacky and dark, but then again, isn't everything?" writes Pieper on his film's page. The latter sentence perfectly describes the feeling Pieper evokes with his stories and the style in which he tells them. And it's probably why I'm a big fan of his work. So let's celebrate life being dark and wacky today, yeah?

I finally met Pieper in person last month when he came to visit the Film Annex studios. He talked about his work, career, and sharing on social media at length and revealed how much he knows about the Film Annex model. We're glad to be helping him fund his new projects. Seeing great filmmakers make the films they want to make is the biggest satisfaction. So without further delay, here is Pieper's Eye Contact.

-- EREN

This Week's Highlights - A Night at Cherry Lane, New Filmmakers and Interviews, and My Music Video!

14 12 2012 18:35:55 +0000

After leaving behind an annoying cold and staying in bed for 4 days last week, I started the week by reaching out to several female directors for interview requests. Two of them, Elka Sadat and Saba Sahar are from Afghanistan and were referred to me by my colleague Fereshteh Forough. These are the first steps towards our "women's empowerment through online film distribution" project here at Film Annex. I also reached out to some up and coming filmmakers in the US, including Becky Sloan and Kirsten Lepore. I think comparing the experiences of female directors living in the US to those in Afghanistan and Central/South Asia will be an interesting study and will help us define the main differences as well as the lack of opportunities for the latter.

I continued the week corresponding with several other filmmakers. Nick Fox-Gieg, a SXSW award-winning animator and a Film Annex member, will be visiting our studio this coming Monday for a video interview. I'm very excited to meet Nick and talk more about his work, strategies for social media, and upcoming projects. In fact, his film, The Orange was the first film I featured in my WACKY TUESDAYS series. Speaking of WACKY TUESDAYS, this week, I highlighted a new video, this time a music video by the artist Ewan MacLeod for CUT COPY'S song, Lights and Music. I find that this new blog series is giving me the opportunity to re-discover some of the best (and craziest) videos on Film Annex and look at the new ones with a more critical eye.

Tuesday night, my friend, actor and writer Lillian Rodriguez, who is also an Annex Press Contributor, invited me to a special event at the Cherry Lane Theater, celebrating women playwrights. I attended the event with Fereshteh and got to listen to the stories of three amazing theater & film women, Hallie Flanagan, Edna Ferber, and Sarah Bernhardt, told by another set of amazing women Milly Barranger, Julie Gilbert and Ruth Wolff. After the talk and performance, I got to meet the Director of the League of Professional Theatre Women. I told her about our women's empowerment initiative and invited her to the Film Annex Studios for an interview. I can't wait to listen to her stories. More on that soon...

Later in the week, I spent some time working on a couple press releases. The first was about the collaboration between Film Annex and Captain Edward Zellem, introducing Afghan Proverbs to Afghan students' school curriculums. The other one was about the new blog series about CBS' 60 Minutes written by a team of Afghan writers led by Roya Mahboob and Fereshteh Forough.

On a different note, I had a great conversation with Adam Rackoff this morning. He's a producer who worked with Matthew Modine on his short film, Jesus Was A Commie. Currently, he is executive producing the Academy Award nominee Bill Plympton's new animation feature CHEATIN'. I'm looking forward to working with Adam in promoting his projects on Film Annex. Written and video interviews are on their way, so stay tuned for some very very exciting content with great actors and directors.

Last but not least, my new music video for Hee Young was recently released, and now you can watch it on Film Annex! I wrote a blog about it yesterday so more info on there... This was such a great experience and I look forward to working on more video projects. Already have a crazy idea, but it's a secret for now... Shhhh.

Till next week,

Eren

Music Video for Hee Young - Buy Myself A Goodbye

13 12 2012 17:29:33 +0000

Two days ago, I wrote a blog about the launch of our brand new music channel, FA Music TV. Today, I'm doing a little self-promotion by highlighting the latest music video I shot for singer/songwriter Hee Young's Buy Myself A Goodbye from her album, 4 Luv. I was lucky that Hee Young let me choose the song we wanted to do a video for, and I thought Buy Myself A Goodbye was the most visual track on the album. Hee's lyrics are very expressive and honest. "I'll buy myself a goodbye; and then sell it to someone who really needs..." made me think of things that we can't buy with money. So, I said, "What if you walked around the city, attempting to buy things that are un-purchasable?" And what do you picture when you think about money? Dollar bills. But not the dollar bills you keep in your wallet. We're talking about the ones you use to purchase houses and hotels when you play Monopoly.

Hee Young and I developed the idea over a few days and got down to shooting. This was (as you'll see in the video) back when it was warm out. Summer vacations got in the way, and we ended up having several different shoot dates indoors and outdoors. We shot the interiors at the Film Annex studios and the exteriors in different neighborhoods in New York City, including Times Square, West Village, Park Slope, and Coney Island. This was before Sandy hit the coast of New York and Coney Island was still pretty.

I think one of the most fun things about making the video was perceiving the lyrics literally and then trying to create a rather surreal story that's open to interpretation. I love images, but I'm equally fascinated with words, and making a music video is the perfect medium for combining the two. My favorite shoot day was the one on Coney Island even though it was a very early morning shoot. The stores were closed and no one was around. It was quite peaceful.

I had a great time working on this project and felt challenged at times, handling all aspects of production including camerawork, directing, editing, and even set design. My awesome co-worker, Alexey, helped me with the "movie-within-a-movie" scene in the video, so a big thank you goes to him, and of course to Film Annex (more special thanks in the credits). I guess I'll let the video speak for itself, but if you're curious about any of the scenes, the making-of, where ideas came from, etc., I'm happy to go into details. You can watch the video below. I hope you enjoy it! P.S. 720 is always better :)

Music: 'Buy Myself A Goodbye' from 4 Luv by Hee Young
Produced by Saul Simon MacWilliams

Directed, Filmed, and Edited by Eren Gulfidan (www.mumfus.com)
Second Camera: Beyza Boyacioglu
Special Thanks: Lillian Rodriguez, Alexey Levhcenko, Film Annex

More about Hee Young:

"A beautiful example of what music is all about” is how the UK’s THE MAG describes Hee Young’s debut EP ‘So Sudden.’ Produced by Saul Simon MacWilliams (Chris Garneau), mixed and mastered by Dan Romer (Ingrid Michaelson, Jenny Owen Youngs), and self-released in 2009, ‘So Sudden EP ’ was picked up by South Korea’s biggest Indie label Pastel Music in 2010. ‘Are You Still Waiting?’, the title track of her EP won the Singer/Songwriter Awards of We Are Listening in 2010 and was featured in Korea’s hit TV show ‘Lie To Me’ which created a buzz not only in Korea, but internationally, resulting in dozens of fan videos even before the release of the official music video.

Born in a small seaside town to a singer mother and a composer father, Hee Young grew up in Seoul, South Korea. At age sixteen, she left home to fulfill the American Dream, but after a year spent in a middle of nowhere town in South Georgia in the land of endless cotton fields, she found herself alone with no high speed Internet or a television and no close friends and family, but an old piano and a slight Southern accent. That’s when she started speaking the language of loneliness and unrequited love and matching them to her own melodies.

10 years later, she’s a young Brooklyn transplant with a degree in Studio Composition from SUNY Purchase Music Conservatory and is a signed artist of South Korea’s Pastel Music. With an EP under her belt, Hee Young’s first full-length record ‘4 Luv’ (Produced by Saul Simon MacWilliams) was released in the spring of 2012."

Download the song and the album '4 Luv' here.

-- EREN

Wacky Tuesdays - LIGHTS & MUSIC (Art Version) by CUT COPY and Ewan MacLeod

11 12 2012 17:02:42 +0000

Hi there! Welcome to the second edition of WACKY TUESDAYS at Film Annex. Hope the time you spent between last Tuesday and today was time well spent. If your week sucked, no worries. I'm here to cheer you up with a wacky video. Before I get to this week's wackiness, let me first tell you about a brand new Web TV on Film Annex's online video platform called Film Annex Music TV. Our new Music TV is created and curated by Fred Kurzh and is dedicated to the promotion of talented musicians of all genres worldwide. The channel welcomes a wide range of international performers with a high level of creativity and quality content. Kurzh's goal is to promote both national and international artists from all walks of life, and he does this by connecting musicians with new audiences, users, and business prospects. So far, the channel has been showcasing fantastic and creative music videos by bands like Of Montreal, Cut Copy, and The Travelling Band. The Web TV currently has 35 videos and 15 channels and is destined to be one of the most popular video blogs out there! So if you're a musician with an awesome video or you know bands with great videos, contact Fred at info@famusictv.com.

It's not a coincidence that I started this blog with the news of our new Music TV's launch. This week's wacky video is CUT COPY's Lights and Music! Upon watching the video, you might say, "This is not the Lights and Music video I saw on Cut Copy's VEVO!" And, you're right. It's not. This is the alternative, art(sy) version of the music video, and yes, it's so much cooler.

What else do we know about this video? It's directed by artist, Ewan Macleod, an Aria Award nominated director working between Australia and the United States. His work has been shown at international film festivals and featured in Rolling Stone and Desktop magazine. A creator of over twenty music videos, he has worked with some of Australia's most acclaimed musicians such as Jet, Cut Copy, Midnight Juggernauts and Sarah Blasko. A formative member of the video collective Krozm, Ewan has also worked as a Motion Designer at the Australian Centre for the Moving Image. He is represented for commercial directing in Australia with PlayBig Film in Sydney.

So, what do you think? Pretty impressive, right? The video needs no commentary, so without further a due, I present LIGHTS AND MUSIC! (Get out of the way MTV! Here comes FA Music TV).

Empowering Female Directors Through Online Film Distribution

05 12 2012 12:44:45 +0000

French filmmaker Agnes Varda

I was writing down some interview questions the other day to a New-York based female director, and one of the questions was, "What are some of the challenges of working as a female director in the film industry?" I stopped for a second and thought about rephrasing it. Should I have said, "What are some of the challenges and advantages of being a female director in the film industry?" Are there actually any advantages? And why was this one of the first questions that popped into my head? Why did I automatically think of the word "challenge" when I said female director?

I guess the answer is simple: Because, that's the reality. Being a woman and a successful film director is not something we hear all the time. So, what are some of the obstacles that women face when it comes to making films? Several different resources I looked into say it's a combination of sexism, cultural differences between men and women, and maternity issues. When I googled "Why are there so few female film directors?" I stumbled upon an article called Why are there so few female film-makers? that was published in the Guardian in January, 2010. Here is an interesting excerpt:

"So, is this a new era for female film-makers? Unfortunately, the numbers suggest otherwise. In a study published last year, Professor Martha Lauzen of San Diego State University found that only 9% of Hollywood directors in 2008 were women – the same figure she had recorded in 1998. If Bigelow is nominated for the best directing Oscar in March, it will be only the fourth time a woman has been nominated, out of more than 400 director nominations altogether (the other three were Lina Wertmüller in 1976, Jane Campion in 1993, and Sofia Coppola in 2003). No woman has ever won. No wonder, then, that last year Campion entreated aspiring female directors to "put on their coats of armour and get going".

4 female film director nominations out of 400. That's 1%. That's an important statistic, but I'm not as worried about nomination stats as I am about opportunities. To me, the question is more about whether women are able to make the movies they want to make. It's not whether they are winning an Oscar or not. The minute a woman is able to tell the story she wants to tell and reach her audience is the real accomplishment. If enough women can do that, then the Oscar nominations and festival awards will follow.

So, where do we begin? Perhaps, we should be less concerned about the reasons that are preventing women from telling their stories and start focusing on the opportunities that will enable them to make and share their movies. I think online film distribution can be the catalyst here, or at least one of the catalysts. As many of you readers already know, Film Annex works differently from other platforms out there, because it brings distribution and financing together. A filmmaker who shows her film on Film Annex and uses the social media sharing tools we provide will earn money with her content. This is the outcome of our business model, which is based on online advertising. Currently, the most active filmmaker on our platform is none other than Amy Hill, who has raised $8,500. Another is Lisa Stock who has made $7,500, and the numbers continue to grow.

I wanted this blog to be an introduction to our new focus here at Film Annex, empowering women through online film distribution. With my colleague Fereshteh Forough, who has recently moved to New York City from Afghanistan, and of course our social media coordinator, Jennifer Bourne, we'll make it our priority to reach out to more female filmmakers and present them with the opportunities to monetize their films so they can keep making new ones. The goal is to make the current female directors role models so that they can influence younger women to reach their goals. The obstacles are there for everyone, but we can eliminate the stereotypical fears that women face about becoming filmmakers. Another interesting excerpt from the Guardian is in fact about female role models:

"There is also the simple fact that the fewer women there are at the top, the fewer role models and mentors there are; those women who do forge ahead often talk of having to actively ignore the figures. Kidron says that when she was making her first film, she had "a phone call from a journalist who said, 'Do you know you're only the third woman ever to make a feature film in Britain?' And I said, 'Oh, please don't tell me,' and put the phone down, because I didn't want the pressure."

Our mission is to eliminate "being a woman" from being a pressure factor. So, if you're a female filmmaker reading this, you can upload your movie on Film Annex and contact me for suggestions and opportunities. If you're a guy, you can encourage your female friends to keep making movies. I'll update this blog regularly to talk about the new female directors who join our platform and raise funds for their projects. Last week, LA Times wrote that 8 of the 16 films chosen for the dramatic competition at the Sundance Film Festivals are directed by women. That's just the beginning.

-- Eren

Wacky Tuesdays - The Orange by Nick Fox-Gieg

04 12 2012 12:02:35 +0000

Why Tuesdays? Well, because Tuesdays deserve better. Here is a day that often gets labeled as lame and boring, but who can claim the opposite? Mondays are cool, because they represent a new beginning. Wednesdays are busy, and Thursdays are the new Fridays. And as far as I know, everybody enjoys the rest of the week. But what about Tuesdays? Tuesdays deserve better! This is why every Tuesday, you should spare a few minutes to watch something crazy, wacky, bizarre, colorful, or monochromatic... Something that makes a lot of sense and something that makes no sense at all. Luckily, Film Annex's film distribution platform is full of mind-blowingly creative movies.

The first film of Film Annex's Wacky Tuesdays series is The Orange by animation filmmaker Nick Fox-Gieg. The films tell the story of a humble, Florida-grown orange, who starts ruling the world. The governor of Florida declares every day a holiday. The Dalai Lama comes to the grove to sit with the orange every afternoon. Pilots circle around the tree where the orange hangs from a little branch, and passengers stare at this powerful citrus in awe. The story takes a surprising twist when it's time for the orange to be picked and processed. But who will have the guts to do that? Who will displace the most powerful object in the universe? And what will happen when the orange leaves its branch?

An utterly strange, clever, and humorous story told through a beautiful animation. This Tuesday, spend 2 minutes and 16 seconds on watching The Orange and change the way you think about this fruit forever. Watch the film below and make sure you visit Nick Fox-Gieg's Web TV to see more of his work. Oh, almost forgot! The Orange won the Best Animated Short Film Jury Prize at SXSW 2010. It also screened at Rotterdam Film Festival.

Last Week of November - Sundance 2013 Line Up, Empowering Female Filmmakers

30 11 2012 15:41:06 +0000

Left to right: Francesco Rulli, Fereshteh Forough, Alexey Levchenko, and me.

This week, Sundance Film Festival unraveled its 2013 line-up. The films are grouped under four different competition categories: U.S. Dramatic, U.S. Documentary, World Cinema Dramatic, and World Cinema Documentary. The festival also presents an out-of-competition section called NEXT, showcasing pure, bold works distinguished by an innovative, forward-thinking approach to storytelling. After reading about the films, I started contacting some of the filmmakers for interview requests and promotional opportunities on Film Annex. A filmmaker I'm particularly excited about is Eliza Hittman, whose short film, Forever's Gonna Start Tonight, premiered at Sundance in 2010. I admire Hittman's honest, narrative style and the subject matters she explores. Her short seems to be available only through The Standard Print, and I hope to present it on Film Annex one day.

Speaking of women directors, I'll be focusing on introducing Film Annex to female filmmakers in Afghanistan and Central/South Asia in collaboration with my colleague, Fereshteh Forough, who has recently moved to New York from Afghanistan. I'm excited about expanding our reach and focusing on female storytellers who might not have access to the same opportunities as male filmmakers do in their countries. This is the first step towards women's empowerment through movies. A more extensive blog about this is coming soon.

During the week, I continued adding new films to the featured section on our homepage, raising the number of videos in rotation to 242. I'm adding more films to the list every day, selecting from classics as well as new submissions. The final catalog will be a combination of the best narrative, animation, experimental, and documentary work on Film Annex.

Going through our movies inspires me with new ideas each time I do it. Today, I thought about starting a new film promotion series called Experimental Tuesdays upon seeing some crazy, experimental film work by our filmmakers. I think Tuesdays kind of suffer from being a not-so-special day. They sort of drag... Why not make them more exciting by highlighting some insane works of the imagination? More on this as the idea develops. I also thought about starting an interview series with festival directors to explore how film festivals are doing these days and what their real influence is on a filmmaker's career. I'll be sending out my first questions next week, so get ready some revelation there.

This week, I also worked with my colleague, Jennifer Bourne, to create multiple choice Tumblr questions for our software program, Examer. You can refer to my previous blogs to learn more about how Project Examer has been unfolding and our efforts to teach Afghani students about social media. Another exciting development was my correspondence with the Future Shorts team about the promotion and distribution of new films on our online film network.

Last, but not least, I added a new review to my Recommended Film of the Week series. You can read about this week's film, Attack of the Giant Vegetable Monsters, here.

Attack of the Giant Vegetable Monsters - Recommended Film of the Week

27 11 2012 15:58:54 +0000

Has anyone told you to stop playing with your food when you were a kid? In Attack of the Giant Vegetable Monsters by animation filmmaker, Ken Turner, a little boy named Jack gets reprimanded by his mother when he gets busy playing with his vegetables instead of eating them. The film has been described as a parody of the monster movies from the 1950s-60s era by FILMAFFINITY and a marvelous piece of animation with more than a twist in its tale by KURIOSITAS.

Although we've left Halloween behind awhile ago, I chose Attack of the Giant Vegetable Monsters as the recommended film of the week on Film Annex due to its originality and great score. The film begins with thunder and lightning in a small, quiet town. Immediately, we're introduced to that "It was a dark and stormy night" kind of feel and know that something sinister is about to happen. And there they are! The once harmless and "adorable" vegetables are now on an evil rampage around the neighborhood. You might ask "Oh! Like Godzilla?" No! Not like Godzilla. We're talking about vegetables here. Vegetables attacking humans. I wonder how many of those people are vegetarians...

Most of the 6 minute short is black and white and looks like it was shot on 16mm film with all the delicious grain and noise. And the last bit is in color, equally visually impressive. Every time Ken Turner uploads a new film, I get more and more impressed with his stories and style. You can't miss the Tim Burton influence when you watch Turner's work, but what I love about him is that he doesn't hesitate to use bright colors, vibrant greens, vivid pinks... His characters are funny and never one-dimensional.

So for all the vegetarians and carnivores (and vegans) who are wondering what they should do on a rainy Tuesday, I'm saying, watch this movie. And if you like it, which I'm sure you will, visit Ken Turner's Web TV to watch more good stuff like other films and their making-of(s) check out his awesome drawings. Turner's illustrations and film work have been featured in print and online via the pages of The Toronto Star, Cartoon Brew, DRAWN!, IMDB, SlashFilm, Tim Burton Collective, The Line of Influence: A Tribute to Ronald Searle, Sketchozine and INSTORE Magazine.

Attack of the Giant Vegetable Monsters is now part Eren's Picks!

Watch the film:

-- Eren

The Value of Found Footage, B-Rolls, and Public Domain Films

23 11 2012 16:38:21 +0000

It all started with this screenshot. While editing the other night, I was messing around with the tonal range of a particular clip, and as a result of a beautiful accident, I got this image. Check the "mask" box when you're color correcting on Adobe, and see what happens to your footage... For a reason still unknown to me, I fell in love with this image. A simple frame captured on the beach turned into a picture that looked like it was taken on the moon. The sand resembled craters. The sea, which turned pitch black, was now a starless sky, perhaps a black hole. I had this strange feeling of reaching for the unknown, visiting far away places.

The next day, I was listening to a forgotten album on my iPod. It was Madvillain's Madvillainy, which came out in 2004. My favorite song on that album is Shadows Of Tomorrow featuring Lord Quas, and as I listened to it on the subway, I couldn't stop thinking of that black and white image on my screen. Shadows Of Tomorrow is a lot about our relation to time, and what we make of the past, present, and the future. It's melody is a bit eerie, and I'm sure it would affect everybody differently. I put the song on repeat and thought about making a music video for it. I thought about how I'd reach out to Madvillain, what I would say, how I'd try to convince them so they'd let me do it, etc. I thought of an astronaut dancing to the song, galaxies colliding, black holes swallowing stars.

When I got to the office, I looked up the song online and found out that there's already a music video for it (of course!). For whatever reason, it had never occurred to me to search for it before. And there it was. An impressive video that goes greatly with this song, almost entirely made of found footage, including an image of an astronaut and the view of planet Earth from outer space. I guess I wasn't too far off with my interpretation of the song, and my imagination ran parallel to the director's.

All this reminded me of how valuable found footage and b-rolls are when it comes to making videos. Of course, creating something from scratch is extremely gratifying, but putting existing footage together and creating something beautiful out of it can be as impressive. I remember when Abel Ferrara was shooting his last film, 4:44 - The Last Day on Earth, there was a whole crew responsible for finding footage of the Dalai Lama, the recent political riots and disasters, and news clips from major networks. All this was included in the film, and the story couldn't have been told without those b-rolls.

On Film Annex, we have an entire library of Public domain footage, including movie classics, videos from NASA, amazing old TV series like Superman and Dick Tracy, cartoons like Tom & Jerry and Popeye, films from the National Archive, and hundreds of other videos that are hard to come by. In fact, Film Annex is the only platform on the web that presents these valuable films on channels dedicated to each series and organization. The more I thought about it, I came to the conclusion that our Open Film Library needs more exposure, and gradually, it should become the go-to destination for everyone searching for found footage. Whether you're a filmmaker, a music video director, a documentary-maker, Film Annex's online film network can be the ultimate stop. And making these videos available for download, or at least enabling users to send requests for download might be an option to think about.

Now that I think of it, it was no surprise that the video for Shadows of Tomorrow was a mix and mash, as the song itself is partially made of found melodies, which is the case with a lot of MC-producer/DJ-created tunes. Madvillain integrated a speech by Sun Ra into the song, which again goes perfectly with the song's lyrics. The song ends with Sun Ra's words, "Equation wise, the first thing to do is consider time as officially ended... we'll work on the other side of time..." How cool would it be if someone made a song and integrated the speech of MLK into it and then did a great mix and mash video with found footage? Maybe, someone already did it.

-- Eren

Animation Filmmaker, Charles Pieper, Visits Film Annex

19 11 2012 12:51:55 +0000

"The more you promote yourself, the more your level within Film Annex rises in terms of being featured on the homepage. It helps that promoting yourself promotes you within the site itself. So now, the more you blog, the more it increases your presence on the site, which increases the number of people looking at your work, which increases revenues. It creates more of an initiative to be interactive. I'm excited about the revenue that's coming in, and it will be a good way to start out the year." - Charles Pieper

On Friday, November 9th, the long-time Film Annex contributor, stop motion animator and filmmaker, the wonderfully energetic and inspiring Charles Pieper, visited our studio to chat and get in front of the camera for an interview. Even though I had never met Pieper in person before, I feel like I've known him for about 4 years now. That's how long he's been an active Film Annex member. I watched Pieper's style develop over the years and take a definitive tone. He's one of those filmmakers that I would recognize just by watching his work even if his name weren't attached to it. Perhaps one day, you'll be hearing the term "Pieperian" going around town to describe a moody, imaginative, colorful, and somewhat creepy genre-breaking film that explores human behavior in a clever way.

Still from Pieper's latest live-action short film, The Last Remnants

An East Coast native, Pieper went to Emerson college to study film and is currently living and working in Los Angeles. We talked about everything from his early drawings and inexplicable love for monsters to online film distribution, sharing on social media and his latest live-action film, The Last Remnants. Pieper said that being born into the times of Internet has helped his career to a great extent, and he wouldn't be where he is now if it weren't for the web and the power of social media. Online tools can only help further the careers of driven and creative filmmakers, and Pieper is a testament to that.

When asked about his favorite aspect of Film Annex, Pieper impressed us with his extensive explanation of the Film Annex model. It was exhilarating to see that a filmmaker had such good grasp of the way our platform works and how it benefits creatives. From the BuzzScore to being featured on the homepage, Pieper seems to have it down when it comes to promoting and monetizing his work on the web. And I have a feeling that it will only get better for him from here on.

Visit Charles Pieper's Web TV.

Read this story on our corporate blog.