1997 SXSW Film Festival & conference
 
Select 1997 Panels & Worksshops;
 
PANELS:
 
Low Budget, Hing Tech: Promotion on the Web;
How to raise money and get your film notices on the World Wide Web.
 
Marketing your Documents for exhibition and distribution;
What is happening in the documentary market place, what are distributors
looking for and audiences going to see. What are the ways to promote
your film and what are some of the options including PBS, cable, video,
and others.
 
Foriegn Sales;
Some filmmakers find production money and exhibition outlets overseas.
What kind of prpduction money is there overseas and how does a filmmaker
find it?
 
Budgeting Documentaries;
The lengthy process of shooting a documentary calls for a different kind
of budget than feature films. We'll show you some budgets and discuss
money saving techniques.
 
Documentary Aesthetics;
Changing technologies and changing methods of distribution from cable to
access to the net will effect documentaries. In the face of all this
change the focus of the documentary filmmaker must continue to be on
content.
 
Exhibition + Distibution;
You've made a feature film, and paid for it out of your own(or someone
riches) pocket. Is anyone going to show it? How do you make money so
that you can make your next film?
 
Soundtracks;
Soundtracks are becoming both more expensive and more important.
Although they can seem unaffordable, there are creative alternatives.
Top experts explore the process of putting together soundtracks for
documentary and feature films.
 
Is film school worth it?
The pros and cons of getting a university film degree. How does it
compare to learning by exprience.
 
Presenting your film, Presenting yourself;
Walking around at film festivals self-effacingly telling everyone how
bad your film is sabotages your effort. Filmmakers talk about personal
experiences and share sage advice; industry pros tell you how to promote
yourself and your film.
 
Directing yours script;
Independent filmmakers more and more are directors, writers and
producers. How to do alll three jobs at once and get your vision onto
the screen.
 
Underground & Alternative exihibition and distribution;
Some films and videos call for a different exhibition path than the
usual distributors. Where to find and build audiences for these kinds of
films.
 
 
 
WORKSHOPS:
 
Introduction to scriptwriting;
A technical, structural and conceptual look at writing a screenplay.
 
On the Road;
Some stories and tips on taking your film "on the road."
 
Budgeting features: A case study;
Using a budget of an independently made feature film, learn how to cut
some corners and still get the film you want made.
 
Contracts & Agreements;
We'll take you through the contracts you'll need to use from production
and casting through distribution.
 
Also: More Case Studies, Mentor Sessions, Mini-Meetings, and
Roundtables.
 
 
1997 Film Conference Confirmed panelists:
 
Michael Barker, Sony Pictures Classics.
Danny Benair, Polygram Music Publishing
Joe Berlinger, Paradise Lost: Child Murders at Robin Hood Hills.
Susan Bodine, Bodine & Herzog.
Sharal Churchill, The Music Consultants.
Tom Copeland, Texas Film Commission.
Joe Dishner, Production Manager, The evening star.
Paula Erickson, Sony Records.
Michelle forman, 40 Acres and a Mule.
George Huang, Swimming with Sharks.
Lyle Hysen, Matador/Doormat.
Emanuel Levy, Variety.
Richard Linklater, subUrbia.
Drew Meyer-Oakes, Allied Film Labs.
John Pierson, Spike, Mike, Slackers & Dykes.
Jennifer Pyken, Sony Publishing.
George Ratliff, Purgatory Count.
Bingham Ray, October Films.
Doreen Ringer-Ross, BMI.
Robert Rodriguez, El Mariachi.
John Shrimpf, Victor Duncan, Inc.
Bruce Sinofsky, Paradise Lost: Child Murders at Robin Hood Hiils.
Jon Sloss, Exec, Producer, Lone Star.
Kevin Smith, Chasing Amy.
Amy Taubin, Village Voice
 
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