Dicas para filmes independentes
Dicas para filmes independentes
1.138 visualizações • 26 de mai. de 2021 • Durante o Reach, série de encontros sobre audiência, conteúdo e tecnologia que faz parte da programação oficial do BrLab e em parceria com o Projeto Paradiso, falamos com Stacy Glassgold, executiva e produtora de filmes internacionais na Blue Fox Entertainment. Ela contou pra gente sobre o panorama atual da distribuição internacional de filmes independentes. Stacy acredita que há um grande potencial para a diversidade em filmes de todo o mundo pois o público deseja histórias que atravessam continentes e culturas. "A boa notícia é que os distribuidores em cada território local, na Alemanha, na Tailândia, no Japão, na Coreia, na Rússia, em todos os países do mundo [...] estão procurando conteúdo que fale com o público de maneira significativa". Ela sinaliza que "precisamos garantir que o cinema independente permaneça vivo e bem, e para isso precisamos realmente pensar em como fazer mudanças, diminuir as janelas, criar eventos especiais, tornar a ida ao cinema especial novamente. No final das contas o cinema nunca morrerá. Como público, agente de vendas, produtores e cineastas, precisamos trabalhar juntos para sermos realistas sobre o futuro". Stacy ainda nos conta sobre seu painel no evento onde ela diz que acredita que todo filme deveria ser julgado pelo seu mérito, pois cada filme tem uma trajetória única. Ela dá um exemplo de caso do filme "Mandy" do diretor grego Panos Cosmatos. Um case de sucesso que saiu da curva nos mostrando que nunca sabemos ao certo o que vai acontecer, por isso é preciso nos adaptar e estarmos abertos às diferentes possibilidades de todos os cenários. STACY GLASSGOLD Executiva e produtora de filmes especializada em vendas e distribuição internacional. Atualmente é responsável por vendas e aquisições internacionais na Blue Fox Entertainment e, mais recentemente, atuou como vice-presidente internacional de vendas na XYZ Films e na Myriad Pictures. Ela já trabalhou em filmes como Abe, de Fernando Grostein Andrade, The Queen of Spain, The Disappearance of Eleanor Rigby, The Last word, além de Mandy e Arctic, exibidos em Cannes em 2021. Stacy também está produzindo um documentário sobre a influente estação de rádio pública de Los Angeles, KCRW. Anteriormente, Stacy trabalhou com desenvolvimento e produção na State Street Pictures como executiva criativa para o diretor George Tillman Jr. Ela desenvolveu diversos projetos de filmes e atuou como produtora associada no longa-metragem de Tillman The Inevitable defeat of Mister & Pete, exibido em Sundance em 2021. KRISHNA MAHON Indicada ao Emmy com dezenas de prêmios nacionais e internacionais, Krishna começou como repórter na Rede Minas. Foi produtora executiva da Discovery Networks em Miami, e diretora de conteúdo dos canais History, A&E, Bio/Lifetime e H2. É uma das administradoras do Mulheres do Audiovisual Brasil, com mais de 20 mil membras; criadora e host da Imprensa Mahon, canal multiplataforma sem fins lucrativos com foco no fomento e informações do setor audiovisual, além de talento do Grupo Band, onde além de criar também apresenta programas. IMPRENSA MAHON A Imprensa Mahon é um canal sem fins lucrativos, que busca compartilhar conhecimento para capacitar estudantes, roteiristas e produtores a brilhar no audiovisual. Entrevistamos profissionais de destaque nas diversas áreas da TV, do cinema e das plataformas VOD, todos lindos e altruístas, dispostos a contar os segredos que aprenderam no caminho. Mostrar menos Mostrar mais
[Music] i think that there is still great potential for diversity for filmmakers around the world to be able to show their film and cinemas i i've always been a fan of independent film art house films i've never been attracted to the marvel universe or the big blockbusters and i believe that there are audiences that really crave unique stories grounded stories stories from other cultures that span continents and cultures and different voices can really still be heard as an international film
sales agent i definitely know this firsthand because i'm essentially making sure that films get seen in different countries around the world and the good news is that the film distributors in each local territory in germany and thailand and japan and korea and russia in every country around the world australia new zealand the distributors in those countries are passionate about film they are working in the business because they grew up loving cinema loving going to the movies and the y're looking
for content that speaks to their audience in a meaningful way and i think that it's really important to remember that people will always want to go to the cinema to share that community experience to laugh and cry together and i think that there is a way i think that we just need to adapt for the future i think that exhibitors need to be more flexible on the strict windows that exist in the studio system the studio system should be treated totally different than the indep endents we need to make
sure that independent cinema stays alive and well and in order to do that we really need to think about how to make changes shortening the windows creating special events you know making it special to go to the cinema again at the end of the day cinema will never die we just have to as an audience and as sales agents and producers and filmmakers we have to work together to be realistic about the future to ensure that our children and our grandchildren can stil l go to the movies and get some
popcorn and watch something more interesting than avengers what i was speaking about on the panel i was trying to show that every film should be judged based on its own merit and every film can have a unique path to being seen by its audience and the example that i gave is a film that is a very unusual beautiful amazing weird film it's called mandy and it's a direct a greek director panos cosmados and it premiered in sundance and then in cannes las t year in the director's fortnight and it's an
unusual example because it was released in the u.s day and date which means it's in the cinemas the same day as you can stream it at home on your couch but in this case the words spread quickly among interesting people out there that want to experience cinema they heard through reviews and through their peers and through social media that this film needed to be seen on a big screen to really be appreciated and i agree it's very true and so what happened is is only released on 75 screens
just starting out and it was going to be a traditional plan where they kept cutting the cinemas because they assumed uh this is not the most important big release and we don't need to worry about booking cinemas for this but what happened is fans went to social media and they demanded that the us distributor add more cinemas because they wanted to be able to see it in their hometown and so of course the local just exhibitors can't do that right away because they already have other movies booked
but the fans were so adamant that they wanted to see it that it ended up being booked a month later and then it stayed in theaters for a few months and it's a great example that you never know what's going to happen and you have to be able to adapt to every unique scenario because at the end of the day if a film is special and we're able to hear about that through social media and marketing and reviews then fans deserve to be able to see it in their hometown or at least close to their hometown
so it's yeah just a great example that you never know what's gonna happen you never know how an audience is going to react and that is exciting because it means that there's possibilities different ways to do things so hopefully there'll be more situations like that in the future you Inglês
Dicas para filmes independentes
1.138 visualizações • 26 de mai. de 2021 • Durante o Reach, série de encontros sobre audiência, conteúdo e tecnologia que faz parte da programação oficial do BrLab e em parceria com o Projeto Paradiso, falamos com Stacy Glassgold, executiva e produtora de filmes internacionais na Blue Fox Entertainment. Ela contou pra gente sobre o panorama atual da distribuição internacional de filmes independentes. Stacy acredita que há um grande potencial para a diversidade em filmes de todo o mundo pois o público deseja histórias que atravessam continentes e culturas. "A boa notícia é que os distribuidores em cada território local, na Alemanha, na Tailândia, no Japão, na Coreia, na Rússia, em todos os países do mundo [...] estão procurando conteúdo que fale com o público de maneira significativa". Ela sinaliza que "precisamos garantir que o cinema independente permaneça vivo e bem, e para isso precisamos realmente pensar em como fazer mudanças, diminuir as janelas, criar eventos especiais, tornar a ida ao cinema especial novamente. No final das contas o cinema nunca morrerá. Como público, agente de vendas, produtores e cineastas, precisamos trabalhar juntos para sermos realistas sobre o futuro". Stacy ainda nos conta sobre seu painel no evento onde ela diz que acredita que todo filme deveria ser julgado pelo seu mérito, pois cada filme tem uma trajetória única. Ela dá um exemplo de caso do filme "Mandy" do diretor grego Panos Cosmatos. Um case de sucesso que saiu da curva nos mostrando que nunca sabemos ao certo o que vai acontecer, por isso é preciso nos adaptar e estarmos abertos às diferentes possibilidades de todos os cenários. STACY GLASSGOLD Executiva e produtora de filmes especializada em vendas e distribuição internacional. Atualmente é responsável por vendas e aquisições internacionais na Blue Fox Entertainment e, mais recentemente, atuou como vice-presidente internacional de vendas na XYZ Films e na Myriad Pictures. Ela já trabalhou em filmes como Abe, de Fernando Grostein Andrade, The Queen of Spain, The Disappearance of Eleanor Rigby, The Last word, além de Mandy e Arctic, exibidos em Cannes em 2021. Stacy também está produzindo um documentário sobre a influente estação de rádio pública de Los Angeles, KCRW. Anteriormente, Stacy trabalhou com desenvolvimento e produção na State Street Pictures como executiva criativa para o diretor George Tillman Jr. Ela desenvolveu diversos projetos de filmes e atuou como produtora associada no longa-metragem de Tillman The Inevitable defeat of Mister & Pete, exibido em Sundance em 2021. KRISHNA MAHON Indicada ao Emmy com dezenas de prêmios nacionais e internacionais, Krishna começou como repórter na Rede Minas. Foi produtora executiva da Discovery Networks em Miami, e diretora de conteúdo dos canais History, A&E, Bio/Lifetime e H2. É uma das administradoras do Mulheres do Audiovisual Brasil, com mais de 20 mil membras; criadora e host da Imprensa Mahon, canal multiplataforma sem fins lucrativos com foco no fomento e informações do setor audiovisual, além de talento do Grupo Band, onde além de criar também apresenta programas. IMPRENSA MAHON A Imprensa Mahon é um canal sem fins lucrativos, que busca compartilhar conhecimento para capacitar estudantes, roteiristas e produtores a brilhar no audiovisual. Entrevistamos profissionais de destaque nas diversas áreas da TV, do cinema e das plataformas VOD, todos lindos e altruístas, dispostos a contar os segredos que aprenderam no caminho. Mostrar menos Mostrar mais
[Music] i think that there is still great potential for diversity for filmmakers around the world to be able to show their film and cinemas i i've always been a fan of independent film art house films i've never been attracted to the marvel universe or the big blockbusters and i believe that there are audiences that really crave unique stories grounded stories stories from other cultures that span continents and cultures and different voices can really still be heard as an international film
sales agent i definitely know this firsthand because i'm essentially making sure that films get seen in different countries around the world and the good news is that the film distributors in each local territory in germany and thailand and japan and korea and russia in every country around the world australia new zealand the distributors in those countries are passionate about film they are working in the business because they grew up loving cinema loving going to the movies and the y're looking
for content that speaks to their audience in a meaningful way and i think that it's really important to remember that people will always want to go to the cinema to share that community experience to laugh and cry together and i think that there is a way i think that we just need to adapt for the future i think that exhibitors need to be more flexible on the strict windows that exist in the studio system the studio system should be treated totally different than the indep endents we need to make
sure that independent cinema stays alive and well and in order to do that we really need to think about how to make changes shortening the windows creating special events you know making it special to go to the cinema again at the end of the day cinema will never die we just have to as an audience and as sales agents and producers and filmmakers we have to work together to be realistic about the future to ensure that our children and our grandchildren can stil l go to the movies and get some
popcorn and watch something more interesting than avengers what i was speaking about on the panel i was trying to show that every film should be judged based on its own merit and every film can have a unique path to being seen by its audience and the example that i gave is a film that is a very unusual beautiful amazing weird film it's called mandy and it's a direct a greek director panos cosmados and it premiered in sundance and then in cannes las t year in the director's fortnight and it's an
unusual example because it was released in the u.s day and date which means it's in the cinemas the same day as you can stream it at home on your couch but in this case the words spread quickly among interesting people out there that want to experience cinema they heard through reviews and through their peers and through social media that this film needed to be seen on a big screen to really be appreciated and i agree it's very true and so what happened is is only released on 75 screens
just starting out and it was going to be a traditional plan where they kept cutting the cinemas because they assumed uh this is not the most important big release and we don't need to worry about booking cinemas for this but what happened is fans went to social media and they demanded that the us distributor add more cinemas because they wanted to be able to see it in their hometown and so of course the local just exhibitors can't do that right away because they already have other movies booked
but the fans were so adamant that they wanted to see it that it ended up being booked a month later and then it stayed in theaters for a few months and it's a great example that you never know what's going to happen and you have to be able to adapt to every unique scenario because at the end of the day if a film is special and we're able to hear about that through social media and marketing and reviews then fans deserve to be able to see it in their hometown or at least close to their hometown
so it's yeah just a great example that you never know what's gonna happen you never know how an audience is going to react and that is exciting because it means that there's possibilities different ways to do things so hopefully there'll be more situations like that in the future you Inglês
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