…more to come/ meantime—Thanks for this, Clive— it’s been a great start for Garage, and an interesting and eye-opening discussion. Trains of Winnipeg is a highly inventive and in many ways groundbreaking work.
It’s a subsite, currently unattached to the main Auteurs site while in beta. There are four projects scheduled for launch, and 8 more in development. Auteurs members can suggest, debate and create ideas for their own future projects in the Garage forum (or by messaging this account— http://www.theauteurs.com/users/133502), and also add subsidiary content useful for the filmmakers taking part (by posting links to films, clips, cuts, information, or simply by asking questions and giving feedback).
MAIN PAGE
The main Garage site has a top promotional spot which is used to spotlight whatever Garage producers feel is a priority case for promotion. Underneath this are the latest films uploaded across Garage, updating live as new work appears. The latest posts from the Garage forum are there also.
PROJECTS
This page is divided into block sections. Each block contains an image and link to more information on a Garage project. Clicking through will take you to an information page, and underneath you can find all films uploaded to this project uniquely.
FILMS
This is simply a list of all films uploaded to Garage. In the near future, it will be possible for any site member to add Garage films to their favorites, placing them alongside work in the main database. Anyone who uploads a film to Garage will also have that information displayed on their homepage, in a section marked UPLOADED TO THE GARAGE.
UPLOADING
Uploading takes place currently via Vimeo. All contributors to Garage must have a Vimeo account. A filmmaker creates, uploads to Vimeo, and then embeds their film in Garage by filling in a few details, uploading a still and giving their Vimeo film url number.
Because Vimeo limits the data-size and length of uploaded films, there is a maximum time limit of 20 minutes to any films uploaded to Garage. This means Garage is focusing on short-form and episodic content in its first incarnation.
LOGO OR NOT LOGO
Some future Garage projects (see projects in development for more details) may demand that the Garage logo be placed before the films runs to mark it as an exclusive Auteurs/Garage film. For now, the opening projects do not ask this. In the future, the Garage production logo will be made available for download via Vimeo or another mechanism, in multiple formats from hi-res to ntsc basic.
OTHER FILE TRANSFER
Soundfiles, artwork, photos and textfiles are relatively easy to transfer online, email being the most obvious.
THE QUESTION OF SCREENWRITING
There is currently no mechanism for Screenwriters to collaborate effectively (in quiet) on The Auteurs. Nonetheless, screenwriters have always asked to take part in collaborative exercises onsite. So we are working on it.
GROUPS, BADGES AND LISTS
Groups are important because they develop two core skills in filmmaking: collaboration and unity. They also allow beginners with strong ideas to have enough back up around them to push those ideas to a reality, working as a collective, sharing the burden of work and promotion. You are encouraged to form mini-collectives and post your work ongoing in the Garage forum.
Lists
We are going to be encouraging use of the LISTS function onsite to curate films that have relevance to Garage projects. A prime example of this would be the project SILENT CINEMA REDUX which is partially dependent on he building of a canon of experimental filmmaking from which contributors can gain perspective and draw inspiration. We will also be using the mechanism to test for good curators as potentials to sit in on future screening room judging panels.
FORUM ACTIVITIES
The Garage forum is being developed to cover different kinds of debate more applicable to the life and work of people involved in making films than those simply watching and commenting upon them. These include, but are not limited to-
1. A technical lexicon: an open source debate about tactics with commonly available technology to help improve on basic cinematography and camerawork, editing and sound design.
2. Studies of specific films and filmmakers, shot by shot analysis of specfic scenes of interest, wider education on the art and roles of more neglected roles and departments in film production, from cinematographers to gaffers, from script advisors through to executive producers.
3. Specific curation and canon building work following non-typical themes or threads: for example, the gathering of all first films by world class directors, the collation of all experimental work on 16mm or shot with a specific film stock. This information cross-references (as does everything in the Garage) projects and debates ongoing.
4. Filmmakers opening threads on work in progress, using specific threads to post Vimeo cuts, trailers, behind the scenes documentary supplements and stills from film productions ongoing or in development. The forum then becomes a second place to discover more about the work going on on the main Garage site.
5. A list of all film festivals and screening opportunities, with exact submission format requirements and contact information. We also encourage film festivals to post in Garage
Taking footage from early (‘primitive’) cinema and silent films, SILENT CINEMA REDUX invites musicians to create new soundtracks and audio-visual remixes: recorded live and on the fly with minimal post-production work, each group, band or solo artist will perform a 5-20 minute piece with their film projected behind them.
Throughout, the entire project will also be broadcast as a series of ‘rehearsal’ videos uploaded to the Garage, in which the musicians will posts cuts of their music and preparation for perfomance.
—how to join this project—
First of all you need to sign up for The Auteurs (http://www.theauteurs.com) and Vimeo (www.vimeo.com).
Once you have accounts with both sites, you contact us via this account on TA: http://www.theauteurs.com/users/133502 and we will work with you to make sure you have a clear method and working practice for this.
The project itself requires the following commitment from each group or individual artist participating: 5 sessions.
You must complete all 5 sessions to remain in the Garage project channel and to have your work archived in the SILENT CINEMA REDUX project.
These 5 sessions must include—
Two preludes, documentary pieces, in which you demo and rehearse ideas for your final broadcast perfomance.
Two abstracts, which you must make in conjunction with another filmmaker, editor or producer: these are interpretative pieces, where you create edits of the film you have chosen and shape it into the final film you will be playing to, further developing your audio-visual ideas.
A final, live recorded performance film or video in which you will play for 15 minutes with the film projected behind you. This film should include a quick before and after (set-up and exit.)
Taking elements from their film ‘The Cosmonaut’ (a highly-stylized, high-production-valued, crowdfunded film about an astronaut who returns to the earth to find everyone has disappeared) we have uploaded fragmented scenes to archive.org. At this point, Garage and the RCC are finalising instructions for a project which invites filmmakers, musicians (and anyone else with an interest in remixing) to download the footage and make their own version of the film. Over a period of 12 weeks the RCC and G will curate, and then judge the winners in this competition. The prizes will be
Winner— A LOMO CAMERA PACK including amongst other things the LOMO LCA
Runners-up— 10 oktomat cameras and merchandizing from The Cosmonaut.
In addition to this, the Garage forum will be opening discussions on the dynamic concept of crowd-funding. Crowd-funding is a 21st century approach to both the creation and distribution of film, and by its very nature leads to enormous flexibility in cross-platform screening.
The Cosmonaut is a feature film project by Riot Cinema Collective that uses Internet to find funding and distribution, in a collaborative way and under freeCreative Commons licences.
Garage is currently developing a page where you may download all the cuts and clips from The Comsonaut competition. More on this very very soon…
Ten’s mission is to help a new generation of filmmakers take those all-important first steps toward making their first feature film a reality by bringing professional exposure to the filmmakers’ pitches, seeding promising projects with funding in the form of cash prizes, and opening up traditional industry and new media channels where we can.
TEN Film Festival —short film festival of trailers
10/10/2010
Ten celebrates films that filmmakers have yet to make. Filmmakers are invited to create and submit teasers or trailers for their own prospective feature films. Take the first step in getting it made. Ten is a better way to get your feature jump-started. Show them all how you’ll do it. Win or lose, you end up with a pitch piece.
WEB
Website: http://tenfest.com
INTERNATIONAL COMPETITION
Open call for submissions: February 14th to July 4th 2010
Entry fee : $10
MINIMAL REQUIREMENTS
1) Entries ought to try and keep within the spirit of a movie trailer.
2) Entries ought to be original, a teaser/trailer to a film which does not yet exist.
3) Entries ought to include a written synopsis.
LOCATION
(festival venue to be determined) San Francisco, CA
Cinéma 21 (referring back to the TV-series Cinéma, de notre temps, which focused on the most relevant filmmakers from the 80’s) seems to us the right expression for an in-depth look at the cinematic and thematic characteristics in the work of 21 cutting edge proponents of cinematic art.
HOW DOES IT WORK?
What we are proposing is that a number of us in the Auteurs community elect to lead a discussion on a filmmaker, actor, composer, cinematographer or producer who has emerged in the last 2 decades.
After an initial thread (that introduces the individual on whose works we’re going to focus), discussion group leaders have two weeks to start individual threads in Garage on each separate film of that director, so that we can all discuss and share our audience experiences.
The user (or group of users) responsible for that director’s work will additionally create a thread in Garage that serves as an organization centre with general descriptions of the director’s life and work, and links to the film threads, interview pieces and conversation discussions with the filmmaker. These threads should contain no online links to the films in order to avoid any kind of piracy discussion, but in the case that some films are completely unavailable for the general audience people might discuss in private about where to find these particular films online.
In time, a Garage channel will open for this discussion project: over the weeks, we will gather interview pieces (audio, most probably via telephone conversation) with as many of the filmmakers / directors under discussion as exclusives. For the sake of simplicity, they will most likely be curated on the project channel
as a still image and audio, although we will push for video interviews as much as possible.
If you are interested, contact us here in the first instance: http://www.theauteurs.com/users/133502 and we’ll direct you to the project leaders for this. If you’d like to propose a filmmaker, actor, composer, cinematographer or producer for discussion, or put yourself forward as a discussion leader, you can also drop a comment below.
We can only ask. I don’t see why not. Getting filmmakers to respond is all dependent on how seriously we take the discussions and how willing we are to get deep into the work.
Hi. OK, good. Shaping up.
In reply to the question as to how we get the interviews… we have a couple of mechanisms in development…
1. The first and best way is via an app which is essentially a program that we email to the filmmaker. This opens up a webcam on their computer (or can take a feed from another camera, I think): they then record themselves answering the questions we have asked. At that point they can edit / re-take until they are happy with the result and then send it back to us: we take it , add the Garage logo to the head of the video, and embed it into a Garage channel, at which point anyone can embed it where they want (in the forum, on a website…)
2. We phone them. This is really not the best way to do this, but it would work in some cases… We simply record the audio and create a film made of a still (or sequence of stills, or cuts from a film they have made) and again embed it into the Garage channel we will open for this project.
PLEASE BE AWARE this is one of the first steps towards bridging the gap between filmmaker and audience (the other way we have created is to make an exclusive thread, invite only, as we did with the Clive Holden TRAINS OF WINNIPEG topic…) Presumably any filmmaker we invite will be reading these threads, seeing how seriously we are taking this, how much effort we put in. The more thorough (and respectful) we are, the more likely we are to get a good interview back. In some cases we might be able to get direct engagement for a limited time on an exclusive Garage thread, so bear that in mind too.
Some people may say no, so we need to finalise the list and have back-ups / or be prepared to do some of the discussions without feedback from the director themselves if we’re determined to discuss a specific work.
Final note…
It doesnt have to be a director. It can be a cinematographer, or a composer, or an actor, or a producer. Obviously we’re all mostly focused on directors, but I think it would be interesting to think outside the box a little on this project…
In terms of debating who the final 21 are— let’s try and focus on those who emerged with serious intent in the past two decades. I realise this is a task in itself: so if in doubt and it comes down to a choice between two directors and one was working more obviously before the 21 year mark, then we choose the one who wasn’t.
But it’s all about those who either defined or represented something of cultural, social, political or artistic significance in the past 21 years, and ideally has been an energetic force impacting upon world cinema, however obliquely that may be (thats up to us to decide: we’re curating, we’re thinking this through— dont just go for people you’d like to chat to— go for the ones who did work that was difficult, that was important). We’re looking back, rediscovering, and hopefully bringing great and perhaps neglected work to the fore.
OK massive updates on all this coming tomorrow (and other projects)—
We need to start getting this list together fast.
The interview application will be in alpha in about 5 days time. The moment it’s in my hands, we begin contacting the prospective directors.
This project will also form part of one of the first Garage festivals, so its important we get it right.
While I am behind the curtain for the next 24 hours pushing buttons, please push this debate further on here.
For the record, I think Pedro Costa would be a good choice. Anyone interested in leading that group?
the timeline is dependent on two things: 1) the availability of the interviewees (some I know/suspect already are working on films right now, so they may not be immediate in their responses) 2) whether we decide to roll out the 21 over a series of weeks, rather than in one massive putsch.
It’s shaping up though, across the board. Thank you all for your input and efforts so far. I have a good feeling about this.
whoa. Abstractions, eh?
2 immediate suggestions, but these are jumps up from your basic NLE.
After Effects.
MAX MSP + Jitter.
—But of course, abstraction can be achieved by any number of means… with nothing, you can use the camera itself, and work the lens (defocus, fast movement, strange angles, unexpected edits and cuts)… these are ALWAYS amongst the first things that drive any kind of film. Unless its built on some purely animated or computer generated platform (see MAX MSP). If you have an 8mm camera, or even better if you have an 8mm film reel and a projector, try scratching, etching and sticking things to the film itself (the Brakhage technique). Or work with still photography, and montage them… millions of approaches…
If you want some help with this hit me up. If there’s enough demand, I guess I could write some forum posts on different techniques.
A good quick method for abstraction is Compression Artifacting, or Datamoshing as it got named by philistine youtubers. Maybe we can post something on that… soon.
Processing is awesome. In fact, am working on something with it right now. Witkacy— what’s your skillset with this? I could do with some advice on some things. Trying to build a few apps for people to upload and input films and have them spit out image abstractions and cut-ups…
hmmmm…..
Maybe a few of us could get together and create some basic threads on techniques and approaches using all these different ideas?
—Also, Tom, if you seriously are going to bend your camera, hit me up, because I have a couple of dying camcorders I’d like to re-work, and you’re the resident circuit warp master.
Calling in for first list submissions. I need a confirmed 5 at least to begin. Please message me at the Garage account. —also, I’d like to see a list of who is in what team and leading which discussion: once this is confirmed, this will become a group, and this project will form part of the TEN festival upcoming. Excuse my abruptness, I am multi-tasking like a b*****d. This weekend sees major development of Garage. Stay tuned. Peace, etc.
Witkacy, message me, let’s organise some Garage threads. Lots of new filmmakers coming in, so there should be high activity on here (Garage forum) imminently. Be worth the effort to plan it out a bit methink.
Everybody and anybody. Actually no wait: maybe coordinate through Apursansur at this stage, and then he and I can organise the director committees. -And don’t message me at the old T account (it’s redundant, I just don’t have time)- just hit me up at Garage.
UPDATE: The interview app is ready. Primary director list compiled. Emails ready. Clock ticking. There will be a full update from the Cinema 21 account in 24 hours, but this is a heads-up: discussion leaders for round one… you’re on.
18th Raindance Film Festival
29 September – 10 October 2010
OPEN FOR SUBMISSIONS FROM JANUARY 1
The 18th Raindance Film Festival is now open for submissions. Raindance is Europe’s leading independent film festival and takes place annually in London’s West End.
Raindance showcases features and shorts made by independent filmmakers from all around the world to an audience of film fans, journalists, acquisition executives, actors, producers and directors. Nearly 2000 films were submitted for last year’s festival, of which just over 200 were screened. Box office was up 80%.
Films can be submitted via Withoutabox.com, the world’s first site dedicated to film festival submissions. Simply visit the Raindance page at Withoutabox [https://www.withoutabox.com/login/1550] create a login name, fill in the info about your film, submit an online press pack, and send us your DVD in the post. Alternatively, go to the Raindance website [http://www.raindance.co.uk/site/festival-submissions-2010] download, fill in and send us the submission form [http://www.raindance.co.uk/site/picture/upload/18RFF_OnlineSubmissionForm.pdf]
Eligibility Guidelines
- The film must have been completed after 1 June 2009
- Films must be independently funded (ie – without financing from major studios such as Dreamworks, Warner Bros., etc). Regional screen agencies & local councils are acceptable.
- The film can be of any length and of any genre. Any film between 0-30 minutes will classify as a short, anything thereafter will classify as a feature. Submission fees will be worked out on the basis of running time
- The film must not have appeared on British television or on the Internet
Deadlines:
7 May – Early Deadline
4 June – Late Deadline
18 June – Withoutabox-only extended deadline
More about the Raindance Film Festival
The Raindance Film Festival brings the very best in independent and world cinema to London for twelve hectic days and nights in September & October. Specialising in edgy and alternative cinema, the festival has grown to become the biggest of its kind in the Europe.
Films that have made a splash at Raindance include Pulp Fiction, The Blair Witch Project, Dead Man’s Shoes, In Search of a Midnight Kiss and Ghost World Audition and Gozu. Every year we show a diverse selection of shorts, documentaries and fiction features. Many of these are UK premieres, giving audiences the chance to see cinematic gems before they reach the mainstream or graduate to cult legend.
The festival has hosted such guests and filmmakers as Christopher Nolan, Shane Meadows, Ken Loach, Marky Ramone, Iggy Pop, Anton Corbijn, Mick Jones, Andrea Arnold, Adam Yauch, Quentin Tarantino, Faye Dunaway, Lou Reed, Kerry Fox, Tom Waits, Armando Lannucci and Billy Childish.
Festival Awards
Festival Jury Prizes are awarded in a number of categories, such as International Feature, UK Feature, Debut Feature, Documentary and the Audience Award. There are also a number of short film prizes.
Anyone interested in editing challenges (and remixing, and ideas around Creative Commons), check this out: The Cosmonaut
—It’s the beginning of a program of different ideas and experiments with collective editing and remixing on The Auteurs… 20 days to go until this one closes. Bait: you can win a Lomo camera pack if your work is good…
Due to recent events we would like to take the time to point out a few basic tenets of the Garage and welcome your feedback on these tenets.
Please note that the following ‘warning’ is on every Project page for Garage:
To submit your film to The Screening Room, please follow this link and fill in all fields—Screening Room Submission form. If you have any questions about the Screening Room, contact one of the Garage Project Team.
If you upload direct without first going through the submissions process, your film will be immediately deleted.
So please, do not be offended or surprised if your film(s) are deleted when you do not follow this process. There is definitely no form censorship going on here, only a basic enforcement of the basic rules. If we have no records of a filmmaker going through the submissions process, or if we have no records of a filmmaker’s film(s) being viewed by any of our staff, we will assume you have broken the rules and uploaded without going through said process, which is, as said above, a basic rule of participating in the Garage.
So if we are wrong and you did go through the submission process, please let us know in a polite, courteous manner – we will be happy to rectify the situation and apologize if we made a mistake…
Now, to expand on the reasons why we do this:
By not allowing anyone to upload films we are doing you (filmmakers) a favor; we are not a Youtube where anyone can put anything up, you must be invited after we personally screen your work, which is why we say we “curate” films. You cannot walk into a real-world art gallery and hang one of your paintings without permission – yet if your work was considered by the gallery owners and then allowed a place in the gallery itmeanssomething , it means (in this case), that your film was chosen to be included in something that is not open to the public, a place you can take satisfaction in knowing you made it to. Without that, what would the point of Garage be? You could simply use Youtube, Vimeo, et cetera and your goal would be achieved.
We have a very specific user base, that we like to think elevates us above the general viewer base of Youtube, an intelligent, cinephile-laden audience that any filmmaker should be excited and pleased to have as eager viewers, but in order to keep the level of participation where it is we need to be selective, we need to adhere to the museum model and curate , we need to staunchly support films as ART and to do that we need to give each film its just due by viewing and considering each piece independently.
And keep in mind, this is free; we are not charging you anything to have access to a very large and specifically film-enthusiast based user base… all we require is adherence to a process in which we watch your film. WE WATCH YOUR FILM AND WE THINK ABOUT IT. We want art, we want honesty and we will take the time to find that in even the most obscure works – provided they follow a basic rule, a rule designed to not let any person with a computer upload any mindless video they wish. We must take this stance in order to not devolve into just another video sharing site, we stand for focus, intent and artistic integrity, this is the exact opposite of censorship – this is the exaltation and cultivation of art and artists, NOT censorship in the least which leads only to the death of art; our one true enemy.
If you have any thoughts on any of this we welcome an open discussion.
Cinema 21 continues here and we have many more coming. Please contact garage by PM if you would like to submit any questions to our ever growing list of cinema 21 filmmakers. We are still in the process of contacting and scheduling filmmakers from both the list and from various MUBI members that contribute time and commitment to bring us these short films introducing us to some of the finest filmmakers in the world.
Round Table: Trains of Winnipeg + The Auteurs, Avant Garde Films, Web Distro, & You over 2 years ago
…more to come/
meantime—Thanks for this, Clive— it’s been a great start for Garage, and an interesting and eye-opening discussion. Trains of Winnipeg is a highly inventive and in many ways groundbreaking work.
Go to Comment
GARAGE: HOW THE SITE WORKS (WINTER-SPRING 2010) over 2 years ago
http://www.theauteurs.com/garage
It’s a subsite, currently unattached to the main Auteurs site while in beta. There are four projects scheduled for launch, and 8 more in development. Auteurs members can suggest, debate and create ideas for their own future projects in the Garage forum (or by messaging this account— http://www.theauteurs.com/users/133502), and also add subsidiary content useful for the filmmakers taking part (by posting links to films, clips, cuts, information, or simply by asking questions and giving feedback).
MAIN PAGE
The main Garage site has a top promotional spot which is used to spotlight whatever Garage producers feel is a priority case for promotion. Underneath this are the latest films uploaded across Garage, updating live as new work appears. The latest posts from the Garage forum are there also.
PROJECTS
This page is divided into block sections. Each block contains an image and link to more information on a Garage project. Clicking through will take you to an information page, and underneath you can find all films uploaded to this project uniquely.
FILMS
This is simply a list of all films uploaded to Garage. In the near future, it will be possible for any site member to add Garage films to their favorites, placing them alongside work in the main database. Anyone who uploads a film to Garage will also have that information displayed on their homepage, in a section marked UPLOADED TO THE GARAGE.
UPLOADING
Uploading takes place currently via Vimeo. All contributors to Garage must have a Vimeo account. A filmmaker creates, uploads to Vimeo, and then embeds their film in Garage by filling in a few details, uploading a still and giving their Vimeo film url number.
Because Vimeo limits the data-size and length of uploaded films, there is a maximum time limit of 20 minutes to any films uploaded to Garage. This means Garage is focusing on short-form and episodic content in its first incarnation.
LOGO OR NOT LOGO
Some future Garage projects (see projects in development for more details) may demand that the Garage logo be placed before the films runs to mark it as an exclusive Auteurs/Garage film. For now, the opening projects do not ask this. In the future, the Garage production logo will be made available for download via Vimeo or another mechanism, in multiple formats from hi-res to ntsc basic.
OTHER FILE TRANSFER
Soundfiles, artwork, photos and textfiles are relatively easy to transfer online, email being the most obvious.
THE QUESTION OF SCREENWRITING
There is currently no mechanism for Screenwriters to collaborate effectively (in quiet) on The Auteurs. Nonetheless, screenwriters have always asked to take part in collaborative exercises onsite. So we are working on it.
GROUPS, BADGES AND LISTS
Groups are important because they develop two core skills in filmmaking: collaboration and unity. They also allow beginners with strong ideas to have enough back up around them to push those ideas to a reality, working as a collective, sharing the burden of work and promotion. You are encouraged to form mini-collectives and post your work ongoing in the Garage forum.
Lists
We are going to be encouraging use of the LISTS function onsite to curate films that have relevance to Garage projects. A prime example of this would be the project SILENT CINEMA REDUX which is partially dependent on he building of a canon of experimental filmmaking from which contributors can gain perspective and draw inspiration. We will also be using the mechanism to test for good curators as potentials to sit in on future screening room judging panels.
FORUM ACTIVITIES
The Garage forum is being developed to cover different kinds of debate more applicable to the life and work of people involved in making films than those simply watching and commenting upon them. These include, but are not limited to-
1. A technical lexicon: an open source debate about tactics with commonly available technology to help improve on basic cinematography and camerawork, editing and sound design.
2. Studies of specific films and filmmakers, shot by shot analysis of specfic scenes of interest, wider education on the art and roles of more neglected roles and departments in film production, from cinematographers to gaffers, from script advisors through to executive producers.
3. Specific curation and canon building work following non-typical themes or threads: for example, the gathering of all first films by world class directors, the collation of all experimental work on 16mm or shot with a specific film stock. This information cross-references (as does everything in the Garage) projects and debates ongoing.
4. Filmmakers opening threads on work in progress, using specific threads to post Vimeo cuts, trailers, behind the scenes documentary supplements and stills from film productions ongoing or in development. The forum then becomes a second place to discover more about the work going on on the main Garage site.
5. A list of all film festivals and screening opportunities, with exact submission format requirements and contact information. We also encourage film festivals to post in Garage
If you have questions, please contact us at this Auteurs account
http://www.theauteurs.com/users/133502
Go to Comment
SILENT CINEMA REDUX (GARAGE PROJECT #4) over 2 years ago
Taking footage from early (‘primitive’) cinema and silent films, SILENT CINEMA REDUX invites musicians to create new soundtracks and audio-visual remixes: recorded live and on the fly with minimal post-production work, each group, band or solo artist will perform a 5-20 minute piece with their film projected behind them.
Throughout, the entire project will also be broadcast as a series of ‘rehearsal’ videos uploaded to the Garage, in which the musicians will posts cuts of their music and preparation for perfomance.
—how to join this project—
First of all you need to sign up for The Auteurs (http://www.theauteurs.com) and Vimeo (www.vimeo.com).
Once you have accounts with both sites, you contact us via this account on TA: http://www.theauteurs.com/users/133502 and we will work with you to make sure you have a clear method and working practice for this.
The project itself requires the following commitment from each group or individual artist participating: 5 sessions.
You must complete all 5 sessions to remain in the Garage project channel and to have your work archived in the SILENT CINEMA REDUX project.
These 5 sessions must include—
http://www.theauteurs.com/garage/projects/4
Any questions, drop us a line at http://www.theauteurs.com/users/133502
Go to Comment
THE COSMONAUT (GARAGE PROJECT #1) over 2 years ago
IN ASSOCIATION WITH
THE RIOT CINEMA COLLECTIVE
http://www.thecosmonaut.org/
Taking elements from their film ‘The Cosmonaut’ (a highly-stylized, high-production-valued, crowdfunded film about an astronaut who returns to the earth to find everyone has disappeared) we have uploaded fragmented scenes to archive.org. At this point, Garage and the RCC are finalising instructions for a project which invites filmmakers, musicians (and anyone else with an interest in remixing) to download the footage and make their own version of the film. Over a period of 12 weeks the RCC and G will curate, and then judge the winners in this competition. The prizes will be
Winner— A LOMO CAMERA PACK including amongst other things the LOMO LCA
Runners-up— 10 oktomat cameras and merchandizing from The Cosmonaut.
In addition to this, the Garage forum will be opening discussions on the dynamic concept of crowd-funding. Crowd-funding is a 21st century approach to both the creation and distribution of film, and by its very nature leads to enormous flexibility in cross-platform screening.
The Cosmonaut is a feature film project by Riot Cinema Collective that uses Internet to find funding and distribution, in a collaborative way and under freeCreative Commons licences.
Garage is currently developing a page where you may download all the cuts and clips from The Comsonaut competition. More on this very very soon…
Go to Comment
THE TEN FESTIVAL (GARAGE PROJECT #3) over 2 years ago
“http://www.theauteurs.com/garage/projects/3”
Ten’s mission is to help a new generation of filmmakers take those all-important first steps toward making their first feature film a reality by bringing professional exposure to the filmmakers’ pitches, seeding promising projects with funding in the form of cash prizes, and opening up traditional industry and new media channels where we can.
TEN Film Festival —short film festival of trailers
10/10/2010
Ten celebrates films that filmmakers have yet to make. Filmmakers are invited to create and submit teasers or trailers for their own prospective feature films. Take the first step in getting it made. Ten is a better way to get your feature jump-started. Show them all how you’ll do it. Win or lose, you end up with a pitch piece.
WEB
Website: http://tenfest.com
INTERNATIONAL COMPETITION
Open call for submissions: February 14th to July 4th 2010
Entry fee : $10
MINIMAL REQUIREMENTS
1) Entries ought to try and keep within the spirit of a movie trailer.
2) Entries ought to be original, a teaser/trailer to a film which does not yet exist.
3) Entries ought to include a written synopsis.
LOCATION
(festival venue to be determined) San Francisco, CA
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
Cinéma 21 (referring back to the TV-series Cinéma, de notre temps, which focused on the most relevant filmmakers from the 80’s) seems to us the right expression for an in-depth look at the cinematic and thematic characteristics in the work of 21 cutting edge proponents of cinematic art.
HOW DOES IT WORK?
What we are proposing is that a number of us in the Auteurs community elect to lead a discussion on a filmmaker, actor, composer, cinematographer or producer who has emerged in the last 2 decades.
After an initial thread (that introduces the individual on whose works we’re going to focus), discussion group leaders have two weeks to start individual threads in Garage on each separate film of that director, so that we can all discuss and share our audience experiences.
The user (or group of users) responsible for that director’s work will additionally create a thread in Garage that serves as an organization centre with general descriptions of the director’s life and work, and links to the film threads, interview pieces and conversation discussions with the filmmaker. These threads should contain no online links to the films in order to avoid any kind of piracy discussion, but in the case that some films are completely unavailable for the general audience people might discuss in private about where to find these particular films online.
In time, a Garage channel will open for this discussion project: over the weeks, we will gather interview pieces (audio, most probably via telephone conversation) with as many of the filmmakers / directors under discussion as exclusives. For the sake of simplicity, they will most likely be curated on the project channel
as a still image and audio, although we will push for video interviews as much as possible.
If you are interested, contact us here in the first instance: http://www.theauteurs.com/users/133502 and we’ll direct you to the project leaders for this. If you’d like to propose a filmmaker, actor, composer, cinematographer or producer for discussion, or put yourself forward as a discussion leader, you can also drop a comment below.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
We can only ask. I don’t see why not. Getting filmmakers to respond is all dependent on how seriously we take the discussions and how willing we are to get deep into the work.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
Hi. OK, good. Shaping up.
In reply to the question as to how we get the interviews… we have a couple of mechanisms in development…
1. The first and best way is via an app which is essentially a program that we email to the filmmaker. This opens up a webcam on their computer (or can take a feed from another camera, I think): they then record themselves answering the questions we have asked. At that point they can edit / re-take until they are happy with the result and then send it back to us: we take it , add the Garage logo to the head of the video, and embed it into a Garage channel, at which point anyone can embed it where they want (in the forum, on a website…)
2. We phone them. This is really not the best way to do this, but it would work in some cases… We simply record the audio and create a film made of a still (or sequence of stills, or cuts from a film they have made) and again embed it into the Garage channel we will open for this project.
PLEASE BE AWARE this is one of the first steps towards bridging the gap between filmmaker and audience (the other way we have created is to make an exclusive thread, invite only, as we did with the Clive Holden TRAINS OF WINNIPEG topic…) Presumably any filmmaker we invite will be reading these threads, seeing how seriously we are taking this, how much effort we put in. The more thorough (and respectful) we are, the more likely we are to get a good interview back. In some cases we might be able to get direct engagement for a limited time on an exclusive Garage thread, so bear that in mind too.
Some people may say no, so we need to finalise the list and have back-ups / or be prepared to do some of the discussions without feedback from the director themselves if we’re determined to discuss a specific work.
Final note…
It doesnt have to be a director. It can be a cinematographer, or a composer, or an actor, or a producer. Obviously we’re all mostly focused on directors, but I think it would be interesting to think outside the box a little on this project…
OK any more questions, you know where to ask.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
In terms of debating who the final 21 are— let’s try and focus on those who emerged with serious intent in the past two decades. I realise this is a task in itself: so if in doubt and it comes down to a choice between two directors and one was working more obviously before the 21 year mark, then we choose the one who wasn’t.
But it’s all about those who either defined or represented something of cultural, social, political or artistic significance in the past 21 years, and ideally has been an energetic force impacting upon world cinema, however obliquely that may be (thats up to us to decide: we’re curating, we’re thinking this through— dont just go for people you’d like to chat to— go for the ones who did work that was difficult, that was important). We’re looking back, rediscovering, and hopefully bringing great and perhaps neglected work to the fore.
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a cinematic communism over 2 years ago
Now we’re getting somewhere : )
Good work.
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THE COSMONAUT (GARAGE PROJECT #1) over 2 years ago
: ) It’s such a cool film. ^
Finishing the page now, tonight.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
OK massive updates on all this coming tomorrow (and other projects)—
We need to start getting this list together fast.
The interview application will be in alpha in about 5 days time. The moment it’s in my hands, we begin contacting the prospective directors.
This project will also form part of one of the first Garage festivals, so its important we get it right.
While I am behind the curtain for the next 24 hours pushing buttons, please push this debate further on here.
For the record, I think Pedro Costa would be a good choice. Anyone interested in leading that group?
/T
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SILENT CINEMA REDUX: NEW SOUNDTRACKS PROJECT over 2 years ago
Big update on this tomorrow. Must sleep. Well done all of you who are taking part so far.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
the timeline is dependent on two things: 1) the availability of the interviewees (some I know/suspect already are working on films right now, so they may not be immediate in their responses) 2) whether we decide to roll out the 21 over a series of weeks, rather than in one massive putsch.
It’s shaping up though, across the board. Thank you all for your input and efforts so far. I have a good feeling about this.
/more soon…
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Film Software over 2 years ago
whoa. Abstractions, eh?
2 immediate suggestions, but these are jumps up from your basic NLE.
After Effects.
MAX MSP + Jitter.
—But of course, abstraction can be achieved by any number of means… with nothing, you can use the camera itself, and work the lens (defocus, fast movement, strange angles, unexpected edits and cuts)… these are ALWAYS amongst the first things that drive any kind of film. Unless its built on some purely animated or computer generated platform (see MAX MSP). If you have an 8mm camera, or even better if you have an 8mm film reel and a projector, try scratching, etching and sticking things to the film itself (the Brakhage technique). Or work with still photography, and montage them… millions of approaches…
If you want some help with this hit me up. If there’s enough demand, I guess I could write some forum posts on different techniques.
A good quick method for abstraction is Compression Artifacting, or Datamoshing as it got named by philistine youtubers. Maybe we can post something on that… soon.
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Film Software over 2 years ago
After Effects.
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Film Software over 2 years ago
Tom you can do a lot with Artifacting to remove the blockiness, and it has a very fluid potential…. OK I think a post is upcoming on this…
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Film Software over 2 years ago
Processing is awesome. In fact, am working on something with it right now. Witkacy— what’s your skillset with this? I could do with some advice on some things. Trying to build a few apps for people to upload and input films and have them spit out image abstractions and cut-ups…
hmmmm…..
Maybe a few of us could get together and create some basic threads on techniques and approaches using all these different ideas?
—Also, Tom, if you seriously are going to bend your camera, hit me up, because I have a couple of dying camcorders I’d like to re-work, and you’re the resident circuit warp master.
T
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
Calling in for first list submissions. I need a confirmed 5 at least to begin. Please message me at the Garage account. —also, I’d like to see a list of who is in what team and leading which discussion: once this is confirmed, this will become a group, and this project will form part of the TEN festival upcoming. Excuse my abruptness, I am multi-tasking like a b*****d. This weekend sees major development of Garage. Stay tuned. Peace, etc.
T
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Film Software over 2 years ago
Witkacy, message me, let’s organise some Garage threads. Lots of new filmmakers coming in, so there should be high activity on here (Garage forum) imminently. Be worth the effort to plan it out a bit methink.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
Everybody and anybody. Actually no wait: maybe coordinate through Apursansur at this stage, and then he and I can organise the director committees.
-And don’t message me at the old T account (it’s redundant, I just don’t have time)- just hit me up at Garage.Go to Comment
Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
Awesome.
We’ll be back with updates later today.
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ADOBE AFTER EFFECTS over 2 years ago
Some basic After Effects decompression tutorials coming soon to the Garage forum, amongst other things filmic and practical… Just a quick heads up.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) over 2 years ago
UPDATE: The interview app is ready. Primary director list compiled. Emails ready. Clock ticking. There will be a full update from the Cinema 21 account in 24 hours, but this is a heads-up: discussion leaders for round one… you’re on.
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18th RAINDANCE FILM FESTIVAL over 2 years ago
18th Raindance Film Festival
29 September – 10 October 2010
OPEN FOR SUBMISSIONS FROM JANUARY 1
The 18th Raindance Film Festival is now open for submissions. Raindance is Europe’s leading independent film festival and takes place annually in London’s West End.
Raindance showcases features and shorts made by independent filmmakers from all around the world to an audience of film fans, journalists, acquisition executives, actors, producers and directors. Nearly 2000 films were submitted for last year’s festival, of which just over 200 were screened. Box office was up 80%.
Films can be submitted via Withoutabox.com, the world’s first site dedicated to film festival submissions. Simply visit the Raindance page at Withoutabox [https://www.withoutabox.com/login/1550] create a login name, fill in the info about your film, submit an online press pack, and send us your DVD in the post. Alternatively, go to the Raindance website [http://www.raindance.co.uk/site/festival-submissions-2010] download, fill in and send us the submission form [http://www.raindance.co.uk/site/picture/upload/18RFF_OnlineSubmissionForm.pdf]
Eligibility Guidelines
- The film must have been completed after 1 June 2009
- Films must be independently funded (ie – without financing from major studios such as Dreamworks, Warner Bros., etc). Regional screen agencies & local councils are acceptable.
- The film can be of any length and of any genre. Any film between 0-30 minutes will classify as a short, anything thereafter will classify as a feature. Submission fees will be worked out on the basis of running time
- The film must not have appeared on British television or on the Internet
Deadlines:
7 May – Early Deadline
4 June – Late Deadline
18 June – Withoutabox-only extended deadline
More about the Raindance Film Festival
The Raindance Film Festival brings the very best in independent and world cinema to London for twelve hectic days and nights in September & October. Specialising in edgy and alternative cinema, the festival has grown to become the biggest of its kind in the Europe.
Films that have made a splash at Raindance include Pulp Fiction, The Blair Witch Project, Dead Man’s Shoes, In Search of a Midnight Kiss and Ghost World Audition and Gozu. Every year we show a diverse selection of shorts, documentaries and fiction features. Many of these are UK premieres, giving audiences the chance to see cinematic gems before they reach the mainstream or graduate to cult legend.
The festival has hosted such guests and filmmakers as Christopher Nolan, Shane Meadows, Ken Loach, Marky Ramone, Iggy Pop, Anton Corbijn, Mick Jones, Andrea Arnold, Adam Yauch, Quentin Tarantino, Faye Dunaway, Lou Reed, Kerry Fox, Tom Waits, Armando Lannucci and Billy Childish.
Festival Awards
Festival Jury Prizes are awarded in a number of categories, such as International Feature, UK Feature, Debut Feature, Documentary and the Audience Award. There are also a number of short film prizes.
For more information contact:
Joe Pearshouse
Festival Producer
020 7287 3833
joe@raindance.co.uk
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Editing Challenge about 2 years ago
Anyone interested in editing challenges (and remixing, and ideas around Creative Commons), check this out: The Cosmonaut
—It’s the beginning of a program of different ideas and experiments with collective editing and remixing on The Auteurs… 20 days to go until this one closes.
Bait: you can win a Lomo camera pack if your work is good…
(Related Garage posts: Culture-jamming: in conversation with Brett Gaylor)
The Garage is open to suggestions for new collaborative editing projects, so if you have an idea burning behind your eyes… message us at this account.
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Garage films, filmmakers and the process of uploading about 2 years ago
Due to recent events we would like to take the time to point out a few basic tenets of the Garage and welcome your feedback on these tenets.
Please note that the following ‘warning’ is on every Project page for Garage:
To submit your film to The Screening Room, please follow this link and fill in all fields—Screening Room Submission form. If you have any questions about the Screening Room, contact one of the Garage Project Team.
If you upload direct without first going through the submissions process, your film will be immediately deleted.
So please, do not be offended or surprised if your film(s) are deleted when you do not follow this process. There is definitely no form censorship going on here, only a basic enforcement of the basic rules. If we have no records of a filmmaker going through the submissions process, or if we have no records of a filmmaker’s film(s) being viewed by any of our staff, we will assume you have broken the rules and uploaded without going through said process, which is, as said above, a basic rule of participating in the Garage.
So if we are wrong and you did go through the submission process, please let us know in a polite, courteous manner – we will be happy to rectify the situation and apologize if we made a mistake…
Now, to expand on the reasons why we do this:
By not allowing anyone to upload films we are doing you (filmmakers) a favor; we are not a Youtube where anyone can put anything up, you must be invited after we personally screen your work, which is why we say we “curate” films. You cannot walk into a real-world art gallery and hang one of your paintings without permission – yet if your work was considered by the gallery owners and then allowed a place in the gallery it means something , it means (in this case), that your film was chosen to be included in something that is not open to the public, a place you can take satisfaction in knowing you made it to. Without that, what would the point of Garage be? You could simply use Youtube, Vimeo, et cetera and your goal would be achieved.
We have a very specific user base, that we like to think elevates us above the general viewer base of Youtube, an intelligent, cinephile-laden audience that any filmmaker should be excited and pleased to have as eager viewers, but in order to keep the level of participation where it is we need to be selective, we need to adhere to the museum model and curate , we need to staunchly support films as ART and to do that we need to give each film its just due by viewing and considering each piece independently.
And keep in mind, this is free; we are not charging you anything to have access to a very large and specifically film-enthusiast based user base… all we require is adherence to a process in which we watch your film. WE WATCH YOUR FILM AND WE THINK ABOUT IT. We want art, we want honesty and we will take the time to find that in even the most obscure works – provided they follow a basic rule, a rule designed to not let any person with a computer upload any mindless video they wish. We must take this stance in order to not devolve into just another video sharing site, we stand for focus, intent and artistic integrity, this is the exact opposite of censorship – this is the exaltation and cultivation of art and artists, NOT censorship in the least which leads only to the death of art; our one true enemy.
If you have any thoughts on any of this we welcome an open discussion.
Thank you,
The Garage Staff
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Cinéma 21 (A GARAGE DISCUSSION GROUP) almost 2 years ago
Cinema 21 continues here and we have many more coming. Please contact garage by PM if you would like to submit any questions to our ever growing list of cinema 21 filmmakers. We are still in the process of contacting and scheduling filmmakers from both the list and from various MUBI members that contribute time and commitment to bring us these short films introducing us to some of the finest filmmakers in the world.
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Cinéma 21 (A GARAGE DISCUSSION GROUP) almost 2 years ago
Cinema 21 presents Marc Lafia
If you would like to get involved please email us at garage@theauteurs.com.
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CINÉMA 21: LUCRECIA MARTEL over 1 year ago
Cinema 21 Presents Lucrecia Martel
MUBI and Garage would like to thank Jose Sarmiento-Hinojosa for continuing to bring some of the finest directors to Cinema 21.
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