ScreenPens Interview with the hot Indie music band “LOVE CRUSHED VELVET.

SP: What drove you to get into music; Hate 9-5 gigs, an artist, a dark obsession?

LCV: I studied piano as a pre-teen and foolishly gave it up when facial hair started appearing. Then when I was 17, I heard some punk music blasting out of my radio one night and I got hooked, bought a guitar a week later and basically taught myself to sing and play. I never thought of making music in the context of a career, per se. It’s something that I wanted to do, one way or another.

LCV: (9-5?)I am less against 9-5 than I am about living a rigid corporate life. That would be a slow, bleeding death. Structure in and of itself is not a terrible thing, although most of us bohemians play homage to railing against it.

LCV: (An Artist?) There’s always a particular artist involved.

LCV: (Dark Obsession?) There are certain elements of our personalities and lives that can only be expressed and touched musically. Sometimes those can be bright and happy elements. LOVE CRUSHED VELVET is not about bright and happy. LOVE CRUSHED VELVET comes from a seductive yet slightly dangerous place. We are not on the dark side, but love to flirt with it.

SP: Your song “Love Crush” has a driving retro 80’s back beat. A lot like Billy Idol. Is this intentional?

Read More about LOVE CRUSHED VELVET….

SP: Your song “Love Crush” has a driving retro 80’s back beat. A lot like Billy Idol. Is this intentional?

LCV: When I originally wrote the song, it was a slow dirge that was meant to evoke the feeling that one has the morning after a night which was filled with choices that might have been contrary to one’s better judgment. When we went into the studio to record it, we tried playing it fast, just to see how it would feel as up tempo. Our drummer, THOMMY PRICE, used to play for BILLY IDOL and he approached the song with that kind of feel. I was always a big fan of Billy’s work, so we decided to go with that version of the song as a tribute of sorts.

SP: How did you guys meet?

LCV: A few mutual friends had tried to connect me with Thommy and Jimi separately. As it turned out, they had also played together in the BLACKHEARTS, so we’re already familiar with each other. The actual introduction with Thommy came when I had met his girlfriend at a friend’s clothing boutique. Since his name had come up three separate times within a week. I knew intuitively that we was going to be the guy that plays drums for this band. Both Thommy and Jimi then played with me for a while in my solo band and the whole thing finally morphed into what is now LOVE CRUSHED VELVET.

SP: Who’s the hot naked chick in your video? Friend? Fan? Hooker?

LCV: Not a hooker! LOL.  None of my friends would’ve been comfortable enough to do those scenes without an exuberant amount of alcohol, so we ended up bringing in an actress from the outside who ended up being quite a sweet girl and was fabulously playful. She and Thommy were the real stars of the video.

SP: Who have been some of your primary music influences?

LCV: I am too young to have caught the pioneers of punk and post-punk when their music came out, but I was heavily influenced by those genres. Bands like THE CLASH, STRANGLERS, early U2, The VELVET UNDERGROUND, NEW YORK DOLLS, THE STOOGES, not to mention classics like THE DOORS, THE STONES and “Leather-Clad” ELVIS.

SP: Favorite Intoxicant – Beer? Wine? Whiskey?

LCV: All of the above… preferably not together. And I am a complete sucker for great Tequila.

SP: Describe your perfect fan… in ONE word?

LCV: Orgasmoenthusiastic!

SP: What’s the DNA behind the name Love Crushed Velvet…how did you come up with it?

LCV: I’d been tossing around band name ideas for a while, and even threw a party once to get input and ideas from friends and fans. You can only imagine what a mess that was, although it was a great party! Shortly thereafter, I wrote the title track of the album and it’s name immediately stuck out as also being a great band name that really epitomized the spirit of the music in a what that couldn’t easily be put into words. Eventually, I stopped fighting it and accepted that this was what the band was destined to be called. Haven’t looked back since.

SP: What can we expect to see from LVC in the next three months?

LCV: We’re working on a slew of new content, including music and performance videos, as well as additional singles. We will also be supporting the album live; both as a full band and in solo acoustic performances. The process of exposing the world to LOVE CRUSHED VELVET has really only begun so it’s all quite a fresh and exciting and it’s been great fun making new fans along the way and seeing what a strong response the music is evoking.

SP How can new fans follow/contact the band?

LCV: LOVECRUSHEDVELVET.COM,  As well as WordPress and MySpace. Not to mention Facebook. We are starting to pick up some radio airplay in different markets as well. So that will hopefully continue too.



Course 1: A Case Study: Single Picture Financing

Wednesday, October 27th – John Hadity

This workshop will give an industry overview of how to finance a motion picture, including the health of the industry, trends in financing, advantages and disadvantages of studio financing, financing partners, production loans, foreign pre-sales, negative pick-ups, acquisitions, gap and mezzanine financing, and private equity.

Course 2 : Legal Aspects of Single Picture Financing

Thursday, October 28th – Innes Smolansky

This seminar will teach you the best ways to get started, and the necessary legal needs to be addressed in the “big picture” from A to Z.

Course 3: Narrative Production

Wednesday, November 3rd – Trevite Willis

Learn how to create a cohesive investor presentation to a group or individual, how to review the elements of a business plan, how to create a compelling powerpoint and get tips on pitching!

Course 4:  Marketing and Distribution for Films

Wednesday, November 10th – Elliot Grove

The essential task for filmmakers is creating a marketing plan for your film. Learn how to utilise the trade press, consumer press and film festivals to turn your film (and yourself) into this year’s cult classic.

Course 5: Social Media for Filmmakers

Wednesday, November 17th – Roman Sierra

As a filmmaker in today’s market place, it’s becoming essential that you understand how to use Social Media. Learn how to build a core audience for your film using Facebook, Twitter and LinkedIn.

DON’T MISS THESE GREAT COURSES!!!!

-MP

September 22nd / 23rd / 29th, October 6th / 13th (5 evenings – 7:00pm > 9:30pm) Cap 21, 18 West 18th Street,  New York, NY 10011

Learn how to fund, produce and distribute an independent documentary project, short or feature-length.

http://www.eventbrite.com/event/839233169/ScreenPens/339265349

Week 1: Funding Fundamentals: Intro to raising money for your documentary

Wednesday September 22nd – Reva Goldberg (Cinereach)

Click Here for Registration Sign up Today, Seats are limited

This workshop will provide an overview of the landscape for funding documentaries. Some questions we will address include: Should I wait to find funding or just grab a camera and start following my story? When and how do I approach investors, broadcasters or distributors about getting involved with my project?

Week 2: Basic Legal Contracts for Documentaries

Thursday September 23rd – Innes Smolansky

Rights and clearances issues specific to documentary production as well as legal needs of documentary producers will be covered in this workshop.

Week 3: From Script to Deliverables: The Nuts and Bolts of Documentary Production and Post-Production production

Wednesday, September 29th – Julia Mintz (Documentary Producer)

This seminar will focus on workflow and the creative process involved in putting together a production plan for your documentary project. It will give attendees an opportunity to engage in a dynamic dialogue with documentary industry professionals

Week 4: Documentaries & Film Festivals: What You Should Know

Wednesday, October 6th – Basil Tsiokos (Programming Associate for Sundance)

This workshop will offer practical advice for documentarians from a seasoned film festival programmer about how to get your documentary into festivals and how to maximize your experience when selected.

Week 5: Outreach, marketing and self distribution strategies for documentary film

Wednesday, October 13th – Lila Yomtoob

In this course you will learn tools you will need to run a successful campaign for your film.

Filmmakers, writers, directors, actors, producers, documentary lovers of all levels of perspective and who are seeking how to produce, fund and distribute an independent documentary project, short or feature-length.

A crash course on how to make it as a filmmaker in New York City.

Click Here for Registration to John Reiss’ Course

This workshop will be a survey and introduction to a fresh approach at film distribution and marketing. Jon Reiss will walk you through his modern, practical and unique game plan for efficiently connecting you and your film with the audience it deserves.

Following subjects will be covered:
- Goals for your film, career.
- Moving from a project to project model to a career centric model.
- How to identify audiences for your films.
- Redefining film rights from a filmmakers perspective so as to better engage a split rights/hybrid model.
- Integrating distribution and marketing into the filmmaking process.

Filmmakers, writers, directors, actors, producers, cinema lovers of all levels of expertise.

Named one of “10 Digital Directors to Watch” by Daily Variety, Jon Reiss is developing a number of new feature film projects while working the long tail of distribution for his latest film. ”’Bomb It’ is a feature documentary covering the explosion of graffiti culture throughout the world and shot on five continents. The film premiered at the Tribeca Film Festival and has screened at over 20 others including Full Frame Doc Fest.

Jon also teaches in the Film Directing Program where he developed and oversees the Guest Artist Workshop. He also invented and teaches the course “Real World Survival Skills for Independent Filmmakers” which covers the practical/business aspects of filmmaking from fundraising through distribution.

His previous documentary feature film was Better Living Through Circuitry, a startling, humorous and entertaining glimpse into the exploding rave culture featuring such acts as the Crystal Method, Roni Size, and Moby, among others. The film played at such festivals as RESfest, Rotterdam, Sao Paulo, Copenhagen, Los Angeles Independent, Seattle, Vancouver, and Sheffield International Doc Festival before being released theatrically in the United States. Following its theatrical distribution the film had numerous screenings on Showtime and Sundance Channel as well as a worldwide DVD/VHS release.

As an award-winning music video director, Reiss has directed videos for Nine Inch Nails, The Black Crowes, Danzig, Slayer, and the Kottonmouth Kings. Reiss’ “Happiness in Slavery” video for Nine Inch Nails won awards at the Chicago and San Francisco film festivals. His shorts screened at festivals throughout the world including Sundance, Berlin, New Directors/New Films, Edinburgh, and Chicago. Reiss received his MFA from the UCLA Film School.

Below we’ve taken a bit of creative license to imagine how that pitch meeting may have gone.

“A” list Director: You have to envision it. A billionaire corporate genius has the key to vast secret stashed deep inside his brain. We sneak in a specially designed machine while he’s asleep; one with amazing, almost magical properties that allow a crack team of crooks to not just enter his mind but actually enter his dreams. Once they’re inside, they trick him into revealing his incredible secret.

Big Time Executive Producer: That’s wild! That’s the most spectacular, original idea I’ve ever heard. We can plop down a bazillion bucks on the budget, get some top names, create astounding FX and make a killing at the box office. Since it’s a dream, we can have them jump to anywhere in time and space. We can have them moving between different realities. No one will know who’s dreaming and who’s in control.

“A list Director”: Exactly!

Big Time Executive Producer: But wait, if they’re in his dreams there’s really no real threat. I mean, it’s a dream, there’s no “ticking clock” to get the blood boiling. Even if they die, they don’t really die. They can stay as long as they want and just wait for the rich guy to spill the beans.

“A” list Director: I’ve got that covered. He’s gonna wake up at dawn. If he wakes up with the crooks still inside his brain, they’ll be trapped there forever… like eternity in a moment.

Big Time Executive Producer: “Eternity in a moment?”. I don’t know. It’s a little shaky. What if Donald won’t do it?

“A” List Director: Donald… Donald who? Look, we’ll just through a bunch of money at him. Once we tell him the about the special FXs, how we’ll make the whole universe flexible and movable and every scene will be like a nightmare, he’ll just go nuts for it.

Executive Producer: Hmmm it’s still missing something. How’s about; “when you fall, you wake up”. This way they have to stay on their feet the whole time.

“A” List Director: Now you’re cooking with gas. That’s a freaking brilliant, original idea.

Big Time Executive Producer: How did you every come up with this mind bending, original concept?

“A” List Director”: I dunno. It just came to me… in a dream.

Sound familiar. It should. Anyone who read Donald Duck comics recently (2002) probably came across this plot before in the story titled: “The Dream of a Lifetime” concept, written and drawn by the truly amazing Don Rosa. He’s the skinny.

Synopsis: Uncle Scrooge McDuck (a wealthy billionaire duck) falls asleep dreaming of his money. The notorious Beagle Boys, steal an invention that allows them to enter Uncle Scrooge’s dreams in order to break into his vault. Donald comes to the rescue, but not before entering the dream, leaping from location to location, falling down (to wake up) and going back in to save the day before Uncle Scrooge wakes and Donald is trapped in his dreams for eternity.

This writer isn’t saying a word, but for all those who’d like to read the entire story, “The Dream of a Lifetime” can make draw their own conclusions.

http://disneycomics.free.fr/Ducks/Rosa/show.php?num=1&loc=D2002-033&s=date

Cheers,

Mike Palmisciano

ScreenPens, Ltd.

Lotto Love was conceived, written, shot and post produced in only 12 Hours!

Directed by Franco Barbeite
Produced by Tracy Utley & Noah Goldman
Cast- Kevin Coyle (Brad), Matt LoGuercio (Dr. Norm), Laura Steinel (Darcy)
Concept and Written by Mike Palmisciano (ScreenPens, Ltd.), Revisions by Dave Negrin, Erik Vidal.

Michael is a fast rising star in film and television having spent over 10 years as Assistant Director and  protege to the brilliant and gifted Spike Lee.

ScreenPens co-wrote the treatment for the pilot episode after conferring with Michael and his co producer Sharon Easton.

“Police Women” is a gritty, realistic , scripted series that follows the lives of four female police officers as they battle rising urban crime rates and the sometimes outdated views of their male counterparts all while juggling the trials and tribulations of modern Life with the Badge.

Video documentary / PSA , Produced for the American Kidney Fund ( $100 million Non Profit Organization) for promotion and fund raising purposes.

Shot on August 2009 at the prestigious Hamlet Golf and Country Club in Commack Long Island, NY.

Concept, Written and Produced by ScreenPens, Ltd.

Concept / Written / Produced by Mike Palmisciano – ScreenPens, Ltd.

SpokesPerson – Leslie Meisel

Spokes Girl – Danielle Hess

Spokes Person VO – Craig Blair

Post Production – Larry Bobker (Video Editor), Billy Cobin (Sound Editor)

Challenge:  – Client was looking for a memorable, high impact commercial video to promote US tourism to New Zealand that incorporated an innovative representation of the catchphrase, “New Zealand, The Youngest Country on Earth” and featured the many natural wonders and nightlife of New Zealand cities.

ScreenPens Delivered – We first created the unique on-screen persona of “Kiwi Joe” a tough New Zealand tour guide… in the body of a 10 year old boy. Kiwi Joe leads the tour (a diverse group of grumpy Americans) on a world wind adventure through New Zealand’s Magical landscape. By the time they return to the airport, they have all been transformed into happy childhood versions of themselves; renewed and rejuvenated.

Alright. I love Chris Nolan.  His wry wit and visionary eye have created some of the best reasons in recent years, to actually get up off   your ass and get to the movies. “Following”, “Memento”,  “Insomnia” the “Batman series” and “The Prestige”, are all haunting and thought provoking films done with taste, wit and a bit of tongue in cheek humor.

And now “Inception”. Hmmm. Without giving anything away (that already hasn’t been revealed in trailers) the story follows Dom Cobb (Leo DiCaprio) a man with a past, who’s “Day Job” involves entering the sleeping minds of unsuspecting victims and stealing their ideas and dreams.  Sounds like a great premise for a summer blockbuster, right? Except this NEVER happens in the movie.

Cobb and his “crack team” (a surprisingly good Gordon Joseph Levitt, Ellen Page, scene stealing Tom Hardy, an underutilized Sir Michael Cain and an indecipherable Ken Watanabe) muddle through a type of reverse heist plot.

Instead of stealing ideas, they are implanting ideas into the head of Robert Fischer. Jr. (Cillian Murphy – who after his last film “Sunshine”, may have benefited by this procedure  much sooner) via a “dangerous” process called (you guessed it) “Inception”.  All crystal?  Despite all the hype, the “A” plot for Inception is quite simple.

The problem lies in the execution of the story, which Nolan has made unnecessarily complex and convoluted (possibly to justify the huge budget to muddled headed, twenty something studio execs who paid for this).

In Memento, he cleverly reversed the story action from the main character’s POV; a brilliant and necessary twist that actually enhanced the experience. In the Prestige, he brought us behind the curtain into “slight of hand” world of magic. In Insomnia he had the audacity to cast Robin Williams as a brilliant, psychotic murder. We’ve come to expect and even depend on Nolan to bring us UP a rung in the ladder each time around.

Sadly, in what I believe is Nolan’s attempt to re-create the sense of disorientation and confusion we all experience in our dreams, he’s taken a relatively simple story and purposefully made it complicated and confusing. Much like cutting the Mona Lisa into a 1,000 piece jig saw puzzle and then shaking up the box.  Good Luck!

Of course this may also be a clever ploy, knowing full well that the over intellectualized fan boys and girls will spend endless hours, sipping their Lattes  and expensive wines, in pointless debate and reconstruction.  Those of us that still have discretionary cash, may even be compelled to see the movie several times. Trust me. It WON’T get any clearer with repeated viewings.

Nolan, known for breaking the rules, has done it again with Inception, but not always in a good way. First, necessary to all great thrillers,  there is no real “threat to life” for the protagonists. Second, there is no strong, worthy antagonist to challenge DiCaprio and his team (even James Bond had Dr. No and Goldfinger!).  With a weak antagonist and no threat to life there is no strong conflict to pull us in and suspend belief.

What’s left? Nolan has covered the plot holes and lack of basic structural integrity with a glossy, fast moving series of mind bending explosions, stunning vistas and special effects that will enthrall the video game set but leave the rest of us feeling empty and hungry like  sizzle without the steak.

Out of 4 Stars ScreenPens gives “Inception” 2.5 Stars (add a half a star if your primary source of entertainment is shoot ‘em up video games)

-MP

Once More EdenScreenPens, Ltd and it's talented writing / production partner "3.2 Miles 2" (3.2 Miles square) have been awarded 1st Prize for Best New Un-Produced Screenplay entitled ONCE MORE EDEN, by the prestigious PEI Film Festival.

LATEST UPDATE: “ONCE MORE EDEN”  PLACES TOP 1% in FINAL DRAFT SCRIPT COMPETITION

“It’s been a long haul”, said  MS  King in a celebratory dinner last night with ScreenPens Producer / Writer Mike P.  We’ve worked together on this script for months, outlining, structuring, developing characters and story until it shined to become one of the best new original screenplays on the market.

The joint effort began several months ago when Ms. King (3.2 Miles 2) and Mike P (ScreenPens, Ltd.) met to discuss a story concept idea uncovered by Ms. King. The story development team here at ScreenPens immediately recognized this concept as a QUALITY high concept and commercial story we could jointly develop.

We set about developing the story and script, working with several treatment re writes, until we felt it was ready for prime time.  Then another several months writing the script. Which also went through no less than 4 revisions.

Ms. King was invited to the PEI Festival to perform an except reading from the script, which was highly received as well.

ONCE MORE EDEN  is the thrilling  story about a humanitarian Army Nurse, conscripted against her will into the ultra secret  MANHATTAN PROJECT, who defies the entire US Army, when she risks her life to prevent the nuclear holocaust at Hiroshima.

In the vein of NORTH COUNTRY, ERIN BROCKOVICH and CHINA SYNDROME, ONCE MORE EDEN features a strong female lead who, after uncovering the hideous truth around her, steps up, against overwhelming odds, to “do the right thing”.

In the socially current sub text the story deals openly and fairly with debate over the proliferation and deployment of Weapons of Mass Destruction (WMD’s) delving deeply and honestly into the actual historical background.

ONCE MORE EDEN is currently under consideration by three “A” list, Oscar caliber,  actresses. Additionally the script is a top finisher in five (5) other significant industry events (ie. Boston Film Festival etc.)

Interested Directors and or Executive Producers may obtain a copy of the script by sending an email request to:

Info@screenpens.com

Only serious queries will be addressed. Copies will be forwarded by our representatives.

Cheers, and congratulations to ScreenPens and 3.2 Miles 2!

-MP

Me and the Gang!

We’ve all been hearing about how Hollywood has significantly reduced the number of new films being made each year. Budgets and staff are being cut like fat off a pig! Fewer New Writers and Filmmakers are getting their big shot. Is this a BAD THING? Not necessarily.

There’s a simple answer to the problem of Hollywood cutting back on the number of scripts that are being greenlit. Make and distribute your own films and video content.

With the technology as cheap as it is and the great majority of talent (writers, directors, actors etc.) sitting around ‘on the beach’ (many of them in other online groups!), one answer is for us to take matters into our own hands to make  and distribute original films ourselves.

We sometimes forget that Hollywood is a business. It’s a “factory” for films.  What’s happening in Tinsel Town is that the  “Hollywood Factory System” of making and distributing films is becoming rapidly squeezed due to the vast FREE and CHEAP market on the Internet.

Demand for new films and video content is higher than ever. Make your own films, cheaper or shorter. Structure your stories as multiple shorter episodes.  Format them for DVDs and mobile consumption. Self distribute via Amazon and other sites that provide technology to do this.

The Hollywood Factory System is on the ropes. In a dicey effort to reduce their risk, they increasingly depend on existing material that already has an audience (ie comics, remakes, video games and past TV shows etc.) New writers and filmmakers rarely have access to this type of material.

Because of this, they are circling the wagons, providing less access to “new blood”. Ideas are becoming “inbred” and highly derivative. Hollywood’s only choice is to make fewer, BIGGER films that hit the “greatest common denominator” and are global in their appeal (ie Avatar etc.). This may work for them, but it leaves the indie filmmakers increasingly in the cold.

We forget that at the dawn of film, brave and adventurous filmmakers bought their own gear, wrote a great script, pulled a few friends together, made magic and invented a brand new industry.

The time is ripe for the little guys to re-inherit the business. Stop wringing your hands and fighting over the Dinosaurs.  STOP BITCHING and JUST MAKE FILMS!

(for previous articles on this topic click here)

Cheers,
Mike P.

SEND REQUEST FOR FREE SEATS TO (only 2 seats per request):

7/16 – NO FREE SEATS LEFT!  TICKETS WILL BE $10.00 EACH.

INFO@SCREENPENS.COM

More details below

CLASS: WHEN AND WHERE

7pm at the Millennium Film Workshop, 66 East 4th Street, NY, NY 10003 (btw 2nd Ave and Broadway).

TOPICS

Of course it is impossible to explain filmmaking in one 99 minute session! Or is it?

Elliot Grove, founder of Raindance and one of the most knowledgeable filmmakers in the UK, will attempt just that and give you a viable plan and dozens of filmmaking tips in just 99 minutes.

This evening workshop will run through the basic essentials you will need to create a film and to create a plan to launch your career.

• Finding a do-able script
• Finding cast and crew
• Shooting tips
• Getting your film seen
• The career ladder
• Distribution and exhibition
• Money and how to get paid!

WHO SHOULD ATTEND

Established and aspiring Writers, directors, producers, actors, filmmakers, cinema lovers, anyone with an interest in how movies are made and who seek a basic introduction to the filmmaking process.

ABOUT THE INSTRUCTOR

Elliot Grove

Elliot Grove has worked intensively with writers at Raindance since 1992. He explains the tricks of the trade from practical experience and reveals some of the latest paradigms through lecture, exercises and video clips.

Elliot Grove founded Raindance Film Festival in 1993, the British Independent Film Awards in 1998, and Raindance.TV in 2007.

He has produced over 150 short films, and 5 feature films. He has written eight scripts, one of which is currently in pre-production. His first feature film, TABLE 5 was shot on 35mm and completed for a total of £278.38. He teaches writers and producers in the UK, Europe. Japan and America.

He has written three books which have become industry standards: RAINDANCE WRITERS LAB 2nd Edition (Focal Press 2008),  RAINDANCE PRODUCERS LAB (Focal Press 2004) and 130 PROJECTS TO GET YOU INTO FILMMAKING (Barrons 2009). His first novel THE BANDIT QUEEN is scheduled for publication in 2010.

Open University awarded Elliot and Honourary Doctorate for services to film education in 2009.

He is regularly interviewed. Here is an interview for British television

Cheers and See you at the Class!

MP – ScreenPens, LTD.

Read more: Relativity Media To Stream Movies On Netflix Instead Of Premium Cable | /Film http://www.slashfilm.com/2010/07/06/relativity-media-to-stream-movies-on-netflix-instead-of-premium-cable/#ixzz0swBN2qfR

Courtesy www.Slashfilm.com

Hot tips from the irrepressible Dov Simens whose 2 day film school has launched numerous Hollywood and Independent film careers. I myself attended Dov’s 2 day class last year and found it both entertaining AND informative. BUT it is not for everyone. Here’s why…

Dov Simen’s 2 Day Film School

AND OPENS FOR AWARDS SUBMISSIONS

Leading Industry Luminaries and Award-Winning Creators to Judge Submissions;

Winner of ‘Best Online Video’ Award to Receive $25,000 Grant to Produce New Work

NEW YORK, June 3, 2010 – Vimeo®, an operating business of IAC [NASDAQ: IACI], opened the submissions window today for the Vimeo Awards, which honors creative and original online videos and the people that create them.

Starting today, people around the world can submit their videos for consideration across nine judged categories.  The judges will choose the Best Online Video from the top videos in each category, and that winner will receive a $25,000 grant to produce new work. Videos must have debuted online within the past two years to be considered. Vimeo will announce the winners during an awards ceremony at the close of its two-day festival on October 8-9 in New York City.  Additionally, Vimeo will preview some of the finalists’ work at a screening event in Amsterdam in September.

“The Vimeo Festival & Awards is an acknowledgement of—and showcase for— the unprecedented level of creativity, skill and innovation coming from online video today,” said Dae Mellencamp, Vimeo’s General Manager.  “We believe that the awards will not only honor the best work but, by pairing it with a festival, will also bring creative online communities together to learn from and be inspired by each other.”

An independent panel of judges comprised of luminaries and experts within their categories will evaluate and select award winners. The judges include:

• Adam Quirk of Wreck and Salvage
• David Lynch
• DJ Spooky
• Doug Pray
• Fred Seibert
• Justin Cone
• Jose Luis de Vicente
• Lucy Walker
• Morgan Spurlock
• Nabil Elderkin
• Nicholas Schmerkin
• Nick Campbell
• Roman Coppola
• Ree Treweek of the Blackheart Gang
• Vincent Laforet
• … and more to be announced.

“I am so happy to take part in this acknowledgement of independent filmmakers from around the world,” said Morgan Spurlock.  “It is definitely time for the online creative community to be celebrated.”

“This is an incredibly exciting time to be a filmmaker— the technology is there now that will enable a talented individual to to produce amazing work and to share it with the world on Vimeo,” said Vincent Laforet.   “They can expect an incredible level of feedback from the Vimeo community comprised of fellow creatives, and I am very excited to have been asked to be one of the judges of this competition!”

The categories include:

1. The Vimeo Award: Best of all categories. Winner to receive $25,000 grant to produce new work.
2. Narrative: Live-action narrative fiction told through the medium of film/video
3. Documentary: Short films/videos that seek to document compelling actuality or reality
4. Animation: A simulation of movement created by displaying a series of pictures or frames.
5. Experimental: Short films/videos that are often characterized by the absence of a linear narrative.
6. Music Video: Short films/videos that accompany a complete piece of music or song
   1. Motion Graphics: The use of the principles of graphic design to create a film or video using animation or filmic techniques.
   2. Remix: A film/video that combines elements such as sounds and pictures of other works to create a metamorphic work.
   3. Captured: Videos that capture an artistic expression or performance

10.  Original Series: A periodically released collection of original episodic content

Honorary Awards:

• The Feature Presentation Honorary Award: Honoring the vanguard and innovative release of unique feature film online (Nominations accepted)
• Digital Maverick Honorary Award: Honoring pioneering spirit in the world of online video.

The Vimeo Awards will accept submissions from June 3, 2010 – July 31, 2010 for a $20 (U.S.) fee per-video ($5 for Vimeo Plus members) at www.vimeoawards.com. Entrants can submit any original work as long as it has premiered online between June 3, 2008 and July 30, 2010 or has never been premiered anywhere.  All entries must comply with the Official Rules of the Vimeo Festival & Awards. Additional details on the festival to be announced shortly.  For more information on the Vimeo Festival & Awards, please visit www.vimeoawards.com.

About Vimeo, LLC

Leading high quality video sharing site Vimeo® is a vibrant, respectful community of people who love to take video. The site features beautifully produced video from its many talented video creators. Launched in 2004 and headquartered in New York, NY, Vimeo offers users a video sharing experience that is both entertaining and easy to use. Vimeo was listed as a Time Magazine Top 50 Website in 2009. Vimeo, LLC is a subsidiary of IAC (NASDAQ: IACI).

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Media Contact: Deborah Szajngarten, (212) 524-8776, press@vimeo.com

Every year we scout the internet for news of parties at Cannes.
Have we forgotten one? Let us know feedback@raindance.co.uk

Please Note: All parties are strictly Invite Only
Please note that Raindance can take no responsibility for the accuracy these listings. [last update 11.05.2010]

Thursday, May 13, 2010

12:00pm-7:30pm  International Film Finance Forum Hotel Majestic Barriere
3-4 p.m. Celebration for Wouter Barendrecht Place des Plages
4 p.m. Russian Pavilion opening ceremony Pavilion 142
6-8p.m. DDA cocktail Majestic Beach
6-8 p.m. En2Go party Cha Cha Club
6:00pm-8:00pm  BOMBAY DREAMS Cocktail Party and Press Launch
Azure Films – Carlton Hotel
6:30-9:30 p.m. Variety’s Billion Dollar Producers: EuropaCorp party Terrazza Martini
8:30 p.m. Abu Dhabi Culture & Heritage party Majestic Beach
8:30pm-12:00am  Marche Du Film Opening Night 2010 Majestic Beach La Croisette
9pm – 2pm Audi Talents awards – Short Films at Audi Beach
9:30-11:30 a.m. “Lafayette Entertainment Initiative” panel AmPav
10 p.m. “Bitch Slap” party Disco Le 7
11:30 p.m. IM Global “Bitch Slap” preem party AmPav
10 p.m. Opening Party Carlton Hotel

TBA  Icon Pictures Party
TBA  Maybach Foundation Party

Friday, May 14, 2010

11:30 a.m. Peer Media Technologies and Sony DADC panel and cocktail reception Majestic Barriere – Salon Croisette
2 p.m. Nikki Beach launch brunch beach in front of Grand Hotel
4:00pm-6:00pm  South African Line-Up Viewing
Eden Hotel
5:00pm-7:00pm  TIFF & OMDC Cocktail Party
Plages des Palmes
5:00pm – 7pm Raindance Film Festival Live!Ammunition! Kodak Pavillion
5-7 p.m. Cinema du Brasil Happy Hour Cinema du Brasil
5-7:30 p.m. Filmmakers of Ontario, Canada Plage des Palmes
5:30 p.m. Section 481 ñ Ireland’s Competitive Edge panel Irish Pavilion, Village International Cannes
5:30 p.m. “In Conversation: Francis Ford Coppola” panel AmPav
6:30pm-8:30pm  Prescience / Metropolis Drinks Reception UK Filme Centre Pavilion, Palaise des Festivals
6 p.m. The Weinstein Co. party Gray Residence Penthouse Terrasse
6:30-8 p.m. Prescience Films party U.K. Film Center
6:30pm-8:30pm  Screen International &amp MDA Singapore  on the beach between Carlton and Miramar
8:00pm  Inferno Dinner Party La Pizza 3 Quai Saint-Pierre
8:00pm  Prescience Yacht Party
8 p.m.-12 a.m. Official Launch event with LíOfficiel Terrazza Martini
9 p.m. Belvedere party Le Baron
9:00pm  Legendary Fashion Night Villa Oxygene
9:00pm  Chancery in Association with Prescience Cocktail Party The Snapper
10 p.m.-2 a.m. Japan Night Majestic

Saturday, May 15, 2010

1:00pm  Jean Pigozzi Luncheon
Villa Dorane
5:00pm-8:00pm  New York Times Party
5:30pm-7:30pm  New Irish Cinema Reception Rado Plage La Croisette beach between Carlton and Martinez
6-8 p.m. BFI reception Palais Stephanie
6 p.m. The Weinstein Co. party Gray Residence Penthouse Terrasse
6-8 p.m. Indian Films-Studio 18 party Residence Gray d’Albion
6-8 p.m. Isle of Man & CinemaNX party My Issue Yacht
6-11 p.m. Terrazza Martini Sunset Terrazza Martini
6:30pm-8:30pm  Screen Australian Drinks Screen Australia Office Level 8, Residence du Festival
8:00pm  South African Networking Function Rado Plage Beach Venue
9 p.m.-2 a.m. Magnet Media Group party Cannes Harbor
10 p.m. “Millenium” party Chacha Beach

TBA  Vanity Fair Event

Sunday, May 16, 2010

10:30am  Morgan Creek International Brunch
Moulin de Mougins Cannes
3:00pm-4:30pm  Digital Cinema Tango!
European Audiovisual Observatory -  Palais des Festivals
3-4:30 p.m. “Meet the New Sundance” panel AmPav
4:00pm Mallika Sherawat, Irrfan Khan & Jennifer Lynch Lunch/Cocktails
for HISSS – Hotel Majestic, Salon Martha
5-7 p.m. Cinema do Brasil happy hour Cinema do Brasil
5:00pm-7:00pm  Israeli Films Reception
Goeland Beach On the Croisette near Cinema de la Plage
6-11 p.m. Terrazza Martini Sunset Terrazza Martini
5-6:30 p.m. “Fan Nation” panel AmPav
6-8 p.m. BFI Reception Palais Stephanie
7:00pm-10:00pm  Variety Party
10:30 p.m.-2:30 a.m. Maybach Poker Tournament Hotel du Cap, Eden Roc

Monday, May 17, 2010

12:30-3:30 p.m. Maybach luncheon Hotel du Cap, Eden Roc
12:30-2 p.m. “Surviving in the Recession” panel AmPav
3-5 p.m. “Plug in. Play: Tax Credits and Advanced Technology in South Louisiana” panel AmPav
4:00pm-6:00pm  Medienboard Berlin-Brandenburg Marquee in the gardens of the Grand Hotel
5:30-7 p.m. “It’s a Mad, New Media World” panel AmPav
6-11 p.m. Jalouse and L’Optimum magazines party with The Black Lips Terrazza Martini
6:00pm-8:00pm  Reliance Big Pictures and IM Global Cocktail Party for RAAVAN - Carlton Hotel
8pm Russell Simmons & GlobalGrind Launch Party with DJ Kayper for LOVE, BARACK – The india Pavilion No 108
6:30-8:30 p.m. BBC Films party 3.14 Beach
8 p.m. Australia at Cannes Screen Australia Office
9pm – 2am Abel Cine Tech/Aaton Penelope after party Horizon Bleu Villa
9pm -12pm – Hungarian Party
0-1 a.m. Export Union/German Films party Carlton Beach
11 p.m. 1930′s Art Deco party Villa Oxygene

TBA  Bono & Wyclef Jean Party
TBA  Europa Corp Event
TBA  Paul Allen Yacht Party

Tuesday, May 18, 2010

12:30pm-2:30pm  Technicolor – The Colors of Light The Carlton Hotel
5:30-8 p.m. Rome International Film Festival cocktail party Plages de Palmes
10:30-12 p.m. “Documentary: The New Journalism” panel AmPav
6-8 p.m. Celebrate Brigitte Lacombe’s Latest Book: “Lacombe” The Chacha Club
6-11p.m. The Creative Coalition and The Hollywood Reporter celebrate the Spotlight Initiative Terrazza Martini
6:00pm-8:00pm  CinemaNX Yacht Party Jette Albert Edouard BELUGA
6:30pm-8:30pm  Scottish Cannes Reception Noga Hotel
7:30pm  TAMARA DREWE Private Dinner Party
11 p.m. Bond Girl party Villa Oxygene
11 p.m.-2 a.m. “Amreeka” party with WMA and Variety Villa Murano

TBA  Sony Pictures Party
9pm Straight 8mm Party and screening Kodak Pavillion

Wednesday, May 19, 2010

8:30-11 p.m. Terrazza Martini Sunset Terrazza Martini
9 p.m-12 a.m. “Cannes Trivia Night” panel AmPav
9pm – 2pm – the exclusive french reveal of the new big Audi at Audi Beach
10:30-12 p.m. “New Platform for Filmmakers: Are They Working Yet?” panel AmPav
11 p.m. Bollywood Night Villa Oxygene

Thursday, May 20, 2010

TBA Celebrating Middle Eastern Culture Villa Oxygene
6-11 p.m.Terrazza Martini Sunset Terrazza Martini
6:30-11 p.m. Amfar Cinema Against Aids dinner and auction; Annie Lennox performs Eden Roc
9-11:30 p.m. “SAGIndie Karaoke Party” AmPav

Friday, May 21, 2010

6-11 p.m. Vogue Gioello event for Maria Callas Foundation Terrazza Martini
9-11 p.m. Icelandic party Scandinavian Terrace
11 p.m. Copacabana beach party Palm Beach Casino

TBA D&G party Baoli, Port Canto
TBA  Dolce & Gabbana Party

Saturday, May 22, 2010

6-11 p.m Terrazza Martini Sunset Terrazza Martini

Sunday, May 23, 2010

Monday, May 24, 2010

TENTATIVE

TBA  Chopard Trophy Dinner
TBA  Harvey Weinstein Party
TBA  De Grisogono Dinner
TBA  Art of Elysium Cocktails/Dinner

LOUNGE

9:00pm 5/12-5/24  Cosy Box 2010
TBA 5/12-5/24  Chopard Opening Party
10:00pm 5/12-5/24  PCPL: Pirates Co-Production Lounge 2010
6:00pm 5/13-5/24  Billionaire club in Monte Carlo for Gran Prix
Fairmont Hotel Esmeralda
6:30pm 5/14-5/16  Amber Lounge Monaco & Amber Lounge Fashion
Le Meridien Hotel Monaco
5/12-5/23  The Russian Pavilion #140
Village International
5/12-5/23  Nikki Beach
45 La Croisette Cannes
10:00pm-2:00am 5/12-5/18  Diana Jenkins and Neuro Drinks
Neuro Yacht Port du Cannes Key Albert Edward South 8 Pure 1

Screenpens’ long tradition of providing free and low cost training to indie filmmakers has gone to bat for you by putting MONEY where our mouth is.

1000′s of other filmmaker sites constantly flog you to buy their unproven services and products in their attempt to vacuum hard earned lucre from your pockets.

BUT WHO EVER GIVES US SOMETHING  of VALUE, BACK?

WE DO!

Screenpens has struck a partnership with the highly respected RAINDANCE FILM FESTIVAL organization, the most prestigious Independent film  festival and film school in the UK to offer a pair of FREE TICKETS to their upcoming NYC Educational and Seminar Events (click the link below for details of classes, schedules and fees).

http://bit.ly/ScreenpensRD

A Free pair of Tickets will be awarded to the ID that ReTweets and shares this link to the largest number of follows and subscribers!

THAT’S IT! JUST SHARE THIS BLOG LINK TO EVERYONE YOU KNOW.

Note: No purchase necessary to win (although we’d appreciate your attendance) Ticket winners will be announced Thursday April 22, here at the ScreenPens Blog Site. Free Tickets are not refundable for cash value.

RT to WIN! and tell them ScreenPens sent you!

-MP

But does it meet the needs or is it even relevant in today’s era of digital media distribution where “The Baby” can be copied, ripped and redistributed at will by millions of people in the time it takes to change the diapers?  More importantly is there some logic we can garner from this case?

ScreenPens has written extensively on methods of monetizing your work. Ways of actually getting paid and making a bit of scratch from the digital media that you create. While mega companies like Apple, Sony, Hulu, YouTube etc. battle over the MultiVerse, trying to control and squeeze pennies from Heaven, we here at ScreenPens have been devising and reporting on ways to beat them at their own game.

BABY AND THE BATH WATER…

Consider the advantage of today’s Indie Filmmaker (or creator of any type of digital content, ie music, editorials, art etc.). We are passionate about our “babies”.  Most of us work long hours, for little or no pay. Many go into deep debt and burn through both our and our families credit cards, all driven by the urge to create something. We work CHEAP. And like China and other formerly third world nations have figured out, THAT is the key to making money.

The Mega Companies rarely if ever create something… but they’re wizards at exploiting something creative (case in point Paramount’s grand exploitation of  Paranormal Activity). How then can we exploit them and their limitless greed?

By throwing them “The Baby” and keeping control of the “Bath Water”.

This is a radical concept but I see it springing up all over the place. And the best part about it, is that the Mega Companies CAN NOT do this, even with their thousands of employees and their billions of dollars, because they are built on and are sustained by the concept of “accelerated revenue recognition”.

Accelerating Revenue Recognition means that they are hell bent improving the ways to bring more revenue into the company faster and cheaper. Public companies MUST DO THIS TO SURVIVE. They can not  abandon this goal.  Since they are unable to produce enough New Content themselves, they must reach out to the great unwashed masses to buy increasingly larger volumes of content, that they can turn around and sell to and ever widening market. To steal a phrase, “How do they do it? They do it on VOLUME”.

This is great news for Indie Filmmakers who understand this principal and know how to exploit it. If  you’re still suffering from “Old School” revenue models, where you expect to get a big fat distribution deal “cause  I  earned it”,  then this angle will make you puke. But if you’re “New School” then you’ll immediately see the genius.  Coke and Pepsi have figured it out a long time ago, “Give away the machine and make your money on the soda pop!”

What this means to indie filmmakers is this, “Make the best film (or digital content) you can, on the budget you can afford”, GIVE AWAY (or sell cheaply) said content to the highest bidder with the greatest market share. Make your money on the ancillary sales which that content generates.

Let’s take an example step by step:

1) Today, with the new digital technologies and some clever deal making with cast, crew, writers etc  an indie filmmaker can plan to produce a reasonably well made digital feature film for less than $200,000. Something that may do well in festivals, have limited distribution in theaters or may go straight to DVD and Cable.

2) If you’ve been following ScreenPens’ advise you’ve put the effort in EVEN BEFORE YOU BEGAN PRINCIPAL SHOOTING, to build your audience via the multitude of Social Media and more traditional Internet venues.

3) When the film is finished, YOU GIVE IT AWAY. That is you allow unrestricted use of the film under a creative commons license but MAINTAIN the ownership of the property. People can view, copy and distribute your film by the millions FOR FREE, for personal viewing usage but NO ONE can use the film for profit, but you! (ie if some Mega Company wants to profit from your work, they still have to pay you!)

4) In the film credits (opening and or closing) you make sure to include the URL for your Movie Site with a blurb about all a the great MERCHANDISE you have for your fans to buy.

5) On your site, you set up a small self running e-Store where your fans can come back to buy, the “special” DVD version,  T-shirts, Sippy cups,  cast stories or contract engagements, limited signed memorabilia etc etc etc.

6) Sit back and collect your cash.

Imagine if Oren Peli (Paranormal Activity) had done this! He and his cast and crew would be ROLLING IN THE DOUGH and he would still have the big boys throwing money at him to make THEIR next big budget pictures.

Will you make millions this way? Probably not, but you’ll certainly make back your money and you’ll STILL own your property to make future deals, only now it will be worth much more.  Does this model actually work? YES.

Check out the video about Nina Paley’s distribution success with her film “SITA SINGS THE BLUES” and how she “Threw the Baby Out and made her money on the bathwater.

(Left side Video column on ScreenPens Blog titled  “New Model in Distribution).

Cheers and tell ‘em ScreenPens sent you – MP