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Often with independent films, title sequences are considered a last-minute add-on during post-production as an overage. And by then, the money’s usually run out and the filmmakers have to ask for a favor. DON’T be vague about what’s thematically or tonally connected to the film. Filmmakers can sometimes be attracted to the idea of an elaborate, technically sophisticated title sequence, when a more subtle and elegant sequence may be a better option for the film....

One of the YouTube’s earliest continuing purveyors of smart, comedy-oriented original content centered (largely) around the re-purposing of preexisting film material, Auralnauts—the duo of Craven Moorhaus and Zak Koonce—has been regularly producing a series of inventive videos that pull off the hat trick of being formalistically exacting, insightful and entertaining. From wryly overdubbing footage from Star Wars and The Dark Knight Rises to parodying the YouTube algorithm’s penchant for cheap clickbait, to original songs, commercial parodies and more, Auralnauts have built a loyal audience by chasing their authentic interests and devoting themselves to the craft of video....

The March 3 session began the 20th overall edition of Film Independent’s signature panel series, and while part of us misses the IRL experience of DCUs past, an even greater part of us (the part that likes lemonade) was thrilled to be able to see our incisive, candid and occasionally off-the-rails filmmaker conversations accessible to a brand new global audience of film lovers. DCU passholders have the ability to access all of this year’s panels On Demand at any time....

Suzi Yoonessi In much of the content directed by Suzi Yoonessi, a Film Independent Directing, Producing and Screenwriting Lab Fellow, women—of all ages—are defiant. Whether it’s female directors dealing with phallocentric nonsense in this Funny or Die spoof, comedienne Charlene deGuzman getting high off love in this Super Deluxe explainer video or a young, anarchic teen with a bright red head of hair commanding the screen in Yoonessi’s 2009 LA Film Festival hit feature Dear Lemon Lima, her work is inflected with the spirit of the riot grrrls and pop surrealism that pervades her media preferences....

Yes, more platforms means more opportunity for getting your film seen, but it also means more confusion. One syllable sums up producer Jennifer Dubin’s advice for filmmakers facing the big distribution dilemma: plan. “You need a strategy,” says Dubin, who along with producer Cora Olson will be teaching a two-day “Demystifying DIYstribution” class on Saturday, June 28 and Sunday, June 29, as part of our Producer’s Toolkit film education series designed to help filmmakers better understand the business side of the independent film landscape....

DELIVERABLES DEMYSTIFIED Deliverables can come as an unpleasant surprise for indie filmmakers. When a distributor buys your film for release, they expect more than just an HD master. Avoid becoming overwhelmed by the list of required materials by preparing yourself and your team before you even start shooting. At a recent Film Independent educational event, our friends from Indieworks, Bridget Briley and Nicole Papincak, joined deliverables expert David Gaynes (Motion Media Services) to break down the list of physical items a distributor will need you to provide....

In just over three months of wide release, 20th Century Fox’s award season contender Ford v. Ferrari has amassed $217M in worldwide box office, a testament to the fact-based sports drama’s audience appeal beyond hardcore car enthusiasts and auto racing fans. Nabbing four Oscar nominations earlier this month, the James Mangold directed film owes much of its kinetic racing sequences to the immaculate choreography by Second Unit Director Darrin Prescott, which recently earned him and and his stunt ensemble a nomination at this year’s SAG Awards....

These filmmakers sought truths that would enlighten their audiences and showcase diverse perspectives from individuals living in an array of places throughout the world. From the back alleys of Delhi and remote villages in Myanmar, to fake towns created by the U.S. government, the stories told represent people and places rarely seen in film. The “Reel Life: Best Documentary” Directors Close-Up panel took place February 15 and was moderated by documentary filmmaker PJ Raval (Call Her Ganda)....

Like a lot of people, I watched Palm Springs with Andy Samberg and Cristin Milioti on Hulu last weekend. It’s such a fun movie—and it’s uniquely “Summertime” feeling got me thinking about Summer-season movies and what that means to me. This week’s Playlist is dedicated to all the great movies made to populate our hottest months. Some of these will be perennial favorites, and some are my own unexpected discoveries....

As the crisp THWAP! of Hollywood’s most infamous backhand recedes into industry lore, so too has a historic 2022 awards season been issued, absorbed and dissipated. So what next? Well, with the springtime weather (and bellyfuls of Easter chocolate) getting us hyped up like a grease-covered Northman dancing around a Bjork-approved Icelandic campfire, we now turn our attentions toward a more primal state of being—and a more heightened set of emotions....

Keep reading for highlights du jour and check back with our blog for Forum coverage throughout the week. Keynote Conversation with Bird Runningwater: Propelling Meaningful Indigenous Representation in Media Tuesday’s events culminated with a frank conversation about how the intensified focus on meaningful minority representation in the entertainment industry in recent years have impacted Indigenous people in media entertainment. In the course of an hour, moderator and producer Heather Rae – 2009 Spirit Awards winner for Frozen River – explored the influential career of Runningwater, the former head of the Sundance Institute’s Diversity, Equity and Inclusion division....

In Part One, we learned about EFILM Supervising Digital Colorist Mitch Paulson’s professional background and got his insight into the complex world of color correction. In Part Two, we’re delving deeper into a single project: Paulson’s work on Jeff Nichols’ 2016 Film Independent Spirit Award nominated historical drama, Loving. To achieve the mood and tone of the film’s 1960s setting, Loving was shot on film rather than digital. As DP Adam Stone explained, “The film camera added an air of weight for the actors....

Film Independent Members have until Friday, May 19. In anticipation of the deadline, we asked 2020 Film Independent Producing Lab Fellow Maria Altamirano to share her experiences in the Lab. This is what she had to say… Some of my most vivid and beautiful memories from childhood in Peru involve sitting around the TV with my family. Watching American movies and my mom’s favorite telenovelas opened up my world. I started falling in love with the art of storytelling–the ability to immerse myself in different worlds and connect with someone else’s experience felt truly special....

And whether you watched this year’s show on IFC, streamed it on AMC+ or followed along online, thank you! Your support (and online engagement) empowers Film Independent to continue to support visual storytelling year-round. But right now, we want mostly want to say Congratulations! again to all of this year’s nominees and winners—including our sophomore class of TV/streaming honorees. And the Spirit Award goes to… BEST FEATURE (Award given to the producer)...

With her work in the Twilight franchise now safely confined the juvenilia wing of the Kristen Stewart archives, cineastes today are far more likely to associate the actor’s name with a long string of critically acclaimed art house favorites. From teenage rockers to iconic royalty, the 31-year-old performer has been breathing life into complex—and frequently marginalized—characters for two decades, going all the way back to her arresting turn alongside Jodie Foster in David Fincher’s 2002 thriller, Panic Room....

It sometimes feels like there’s a divide between filmmakers and sound professionals. There are millions of decisions made from development to picture lock, and the sound team is rarely consulted on any of them–especially on indie films with limited resources. We’re living in a new golden age of indie cinema right now, and with so much exposure and attention there must be a way to incorporate the sound team into the key crew to build that trust, so that together we can elevate the aural experience of the film....

For the LA-based (by way of Portland) electro-punk group YACHT—frontwoman Claire L. Evans, Jona Bechtolt and Rob Kieswetter—Alien speaks not just to the anxieties of 1979 or the anticipated anxieties of human beings 500 years from now, but also of the present. “It’s about female strength in the face of unspeakable evil,” says Evan of the film, taking time out to chat from the band’s rehearsal for this Thursday’s performance at LACMA’s Bing Theater, adding, “Which is exactly what we need right now....

The Film Independent Forum, held in October at the DGA in Hollywood, hosted a panel this year about that eternal obstacle to indie filmmakers: financing. A panel of industry experts discussed current financing practices, then listened to two presentations by Film Independent Fellows about their current projects and gave them specific advice about how to market their films to investors. Paula Manzanedo-Schmit, Vice President of Film Finances Inc., moderated the panel, which featured Brian O’Shea, CEO of The Exchange; Stuart Pollok, President of Film at Indomitable Entertainment; Peter Trinh, an agent in the International and Independent Film division at ICM Partners; Michele Turnure-Salleo, Director of the San Francisco Film Society’s Filmmaker360 program; and Gary Michael Walters, CEO of Bold Films....

In the world of technology and entertainment, net neutrality is a major topic of conversation right now. We’ve scoured the Internet for some of the best videos and articles that explain how the current discussion surrounding net neutrality could change the way we use the internet, why it affects the independent film community in particular, and what you can do to make your voice heard. What is net neutrality? What an excellent question!...

The first big change you already know: that the LA Film Festival is moving to September. Perhaps you’ve noticed that we haven’t been posting any pictures or videos or blogs about it so far? That’s because nothing’s happened yet. But! It will. Specifically from September 20-28. Now go, block out your calendar. But that’s hardly the only change or the biggest. Today, we’re psyched to kick off our purposefully belated Festival season in earnest with a raft of exciting special programming announcements, as well as updated information about pass sales, partnerships and just where exactly you’ll be able to find us....