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	<title>Filmmaker Magazine &#187; Distribution</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Crowdfunding a Transmedia Phenomenon: Director Nicolás Alcalá on The Cosmonaut</title>
		<link>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/</link>
		<comments>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/#comments</comments>
		<pubDate>Thu, 16 May 2013 18:46:12 +0000</pubDate>
		<dc:creator>Randy Astle</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[crowdfunding]]></category>
		<category><![CDATA[Nicolas Alcala]]></category>
		<category><![CDATA[The Cosmonaut]]></category>
		<category><![CDATA[transmedia]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70585</guid>
		<description><![CDATA[With all the discussion about the future of Kickstarter in recent weeks, it may be appropriate that a film that began its campaign at the beginning of the crowdfunding movement is finally coming out this Saturday. The Cosmonaut &#8212; a Spanish-made English-language film directed by Nicolás Alcalá and produced by Carola Rodriguez and Bruno Teixidor &#8212; raised over €300,000 from 5,000 contributors. It was the first crowdfunded film in Spain and helped pave the way for the foundation of Lánzanos, Spain&#8217;s Kickstarter equivalent. The Cosmonaut will be available to watch for free on Saturday on the film&#8217;s website; the DVD, theatrical &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70585-crowdfunding-a-transmedia-phenomenon-director-nicolas-alcala-on-the-cosmonaut/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Will Tom Wheeler Kill Net Neutrality?</title>
		<link>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/</link>
		<comments>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/#comments</comments>
		<pubDate>Thu, 16 May 2013 18:19:26 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[net neutrality]]></category>
		<category><![CDATA[Tom Wheeler]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70414</guid>
		<description><![CDATA[“I am in this race to tell the corporate lobbyists in Washington that their days of setting the agenda are over.” Guess who said these memorable words? In November 2007, then-presidential candidate Barack Obama uttered this now all-but-forgotten campaign promise. The president recently announced his plan to appoint Tom Wheeler (above), a true industry insider, to head of the Federal Communications Commission (FCC). Wheeler is a career water carrier for corporate interests. He served as head of the National Cable Television Association (NCTA) from 1979 and 1984, and ran the Cellular Telecom and Internet Association (CTIA) from 1992 through 2004. &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70414-will-tom-wheeler-kill-net-neutrality/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>A Plea for Standards and Interoperability</title>
		<link>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/</link>
		<comments>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/#comments</comments>
		<pubDate>Mon, 13 May 2013 14:10:41 +0000</pubDate>
		<dc:creator>Kieran Masterton</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70444</guid>
		<description><![CDATA[This is a plea, of sorts, to the growing number of online platforms that wish to become a lasting link in the indie film value chain: please consider the interoperability of your systems. Increasingly, platforms do not require exclusivity, which is fantastic and frees filmmakers to release their films on multiple online/digital outlets at the same time. However, with the ever-increasing number of platforms comes more work for the filmmaker. Codecs, formats, resolutions, subtitles, audio specs, frame rates, aspect ratios &#8212; all of these are defined in platform requirements to ensure your video is compatible with their system. Then there &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70444-a-plea-for-standards-and-interoperability/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
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		<title>Ted Hope Offers 17 Facts About the Film Business</title>
		<link>http://filmmakermagazine.com/70108-ted-hope-on-17-changes-in-the-film-business/</link>
		<comments>http://filmmakermagazine.com/70108-ted-hope-on-17-changes-in-the-film-business/#comments</comments>
		<pubDate>Sun, 05 May 2013 18:27:47 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[San Francisco Film Society]]></category>
		<category><![CDATA[Ted Hope]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70108</guid>
		<description><![CDATA[At his Hope for Film blog, producer and San Francisco Film Society executive director identifies and speculates on 17 current conditions of the film business, prompting us to consider how we&#8217;ll consequently evolve our own practices to take them into account. The post accompanies the launch of the SFFS&#8217;s A2E (Artist 2 Entrepreneur) program, a new pilot program &#8220;designed to give filmmakers the necessary entrepreneurial skills to achieve a sustainable creative life amidst this changing paradigm.&#8221; (It was this weekend, but you can read the schedule here.) I&#8217;m particularly interested in Hope&#8217;s point number four, below, in which he writes &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70108-ted-hope-on-17-changes-in-the-film-business/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>Talking with Michael Di Jiacomo and John Turturro about 1-900-Tonight</title>
		<link>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/</link>
		<comments>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/#comments</comments>
		<pubDate>Fri, 03 May 2013 13:00:57 +0000</pubDate>
		<dc:creator>Lauren Wissot</dc:creator>
				<category><![CDATA[Actors]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[1-900-Tonight]]></category>
		<category><![CDATA[john turturro]]></category>
		<category><![CDATA[Michael Di Jiacomo]]></category>
		<category><![CDATA[Somewhere Tonight]]></category>
		<category><![CDATA[Starz]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70011</guid>
		<description><![CDATA[One of the most frustrating things about covering film festivals is making discoveries that few movie lovers will ever see. Filmmaking is an industry after all, and as such, artistry will always play second fiddle to marketability. Even so, I was quite surprised to learn that one of my favorite films from the 2011 edition of the prestigious Karlovy Vary International Film Festival never found U.S. theatrical distribution. Surely someone could have figured a way to sell a John Turturro-starring, NYC-set story about two lost souls on opposite ends of an adult chat line? (Especially considering Turturro last year appeared &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70011-talking-with-michael-di-jiacomo-and-john-turturro-about-1-900-tonight/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Just How Healthy Is Independent Film Distribution?</title>
		<link>http://filmmakermagazine.com/69690-just-how-healthy-is-independent-film-distribution/</link>
		<comments>http://filmmakermagazine.com/69690-just-how-healthy-is-independent-film-distribution/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 19:30:42 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69690</guid>
		<description><![CDATA[Louise Levison, a longtime movie industry watcher, found that 2012 was a deceptively good year for indies. Writing at Baseline Intelligence, she noted “independent box office in North America in 2012 was $4.5 billion and 41.7% of the $10.8 billion total.” She warns, “the one film that I feel made the 2012 indie percentage an anomaly is The Hunger Game.” It grossed $408 million in domestic sales and, without it, the indie share would be 37 percent, in line with what she calculates as the historical annual average of indie films of 35 percent for the period of 2000 to 2011. &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69690-just-how-healthy-is-independent-film-distribution/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>How to Choose a Crowdsourced Theatrical Platform</title>
		<link>http://filmmakermagazine.com/69065-how-to-choose-a-crowdsourced-theatrical-platform/</link>
		<comments>http://filmmakermagazine.com/69065-how-to-choose-a-crowdsourced-theatrical-platform/#comments</comments>
		<pubDate>Wed, 24 Apr 2013 13:00:26 +0000</pubDate>
		<dc:creator>Kieran Masterton</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[crowdsourced theatrical]]></category>
		<category><![CDATA[Gathr]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[OpenIndie]]></category>
		<category><![CDATA[Simple Machine]]></category>
		<category><![CDATA[Tugg]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69065</guid>
		<description><![CDATA[Since I co-founded the distribution platform OpenIndie in 2009, the direct-to-fan model has matured into an attractive alternative to traditional distribution deals. Theatrical options in particular have increased dramatically, and success stories have grown from the few to the many. Having moved on from OpenIndie earlier this year, I will be writing a series of articles for Filmmaker on the new ways in which technology can enable distribution for independent filmmakers. In this first post, I&#8217;ll reflect on the theatrical space, highlight a range of the available crowdsourced theatrical platforms, and discuss their differences and the opportunities they present for filmmakers. The &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69065-how-to-choose-a-crowdsourced-theatrical-platform/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Ornana&#8217;s euphonia Now Free to Watch on Vimeo</title>
		<link>http://filmmakermagazine.com/69128-ornanas-euphonia-now-free-to-watch-on-vimeo/</link>
		<comments>http://filmmakermagazine.com/69128-ornanas-euphonia-now-free-to-watch-on-vimeo/#comments</comments>
		<pubDate>Mon, 22 Apr 2013 15:59:17 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Euphonia]]></category>
		<category><![CDATA[Ornana]]></category>
		<category><![CDATA[Vimeo]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69128</guid>
		<description><![CDATA[Though the film only debuted at SXSW last month, Ornana&#8217;s euphonia is already out in the world, with the six-man collective we selected for our 2012 &#8220;25 New Faces&#8221; opting to generously stream it for free on Vimeo. I&#8217;ve been a huge fan of the film since I saw it in rough cut last summer, and it solidified my conviction that director Danny Madden and his collaborators &#8212; wh0 had previously made the charming animated short (notes on) biology &#8212; were on to something special. To further whet you appetitite, here&#8217;s Scott&#8217;s take on the film from SXSW: A real &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69128-ornanas-euphonia-now-free-to-watch-on-vimeo/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Why Filmmaking is Like Software Design</title>
		<link>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/</link>
		<comments>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/#comments</comments>
		<pubDate>Mon, 15 Apr 2013 13:00:31 +0000</pubDate>
		<dc:creator>A.D. Calvo</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Pre-Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67052</guid>
		<description><![CDATA[Before becoming a filmmaker I spent 15 years designing software. Started out as a Mac OS programmer and then moved to Microsoft Windows. My endeavors included all things visual—from icon design and screen layout, to the more abstract design patterns found in system architecture and coding. What I discovered along the way was that the most elegant solutions—the products that worked best, most reliably, and resonated strongly with their user base—were always the most simple and minimalist in design. And there was always room for improvement via testing, focus groups, and refactoring (a techie word for the iterative process of &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>YouTube&#8217;s Agressive Move into Original Content</title>
		<link>http://filmmakermagazine.com/68152-youtubes-agressive-move-into-original-content/</link>
		<comments>http://filmmakermagazine.com/68152-youtubes-agressive-move-into-original-content/#comments</comments>
		<pubDate>Mon, 08 Apr 2013 20:39:44 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[YouTube]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68152</guid>
		<description><![CDATA[Google’s YouTube is now into its second round of a long-term plan to remake the “original content” landscape. In the process, it is challenging the established broadcast and cable networks through its own Internet-based TV programming service. In 2011, YouTube began funding an estimated 160 ventures to feed a streaming Over-the-Top (OTT) programming service. It supported ventures involving Tom Hanks, Amy Poehler and others to produce new programs and signed up big-name talent like Madonna, Jay-Z and Ashton Kutcher to “curate” branded channels. It also supported dozens of start-ups run by established indie makers and others. AdAge found that among the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68152-youtubes-agressive-move-into-original-content/feed/</wfw:commentRss>
		<slash:comments>6</slash:comments>
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		<title>Tugg Co-Founder Nicolas Gonda on Curators, Brand Ambassadors and Artist Entrepreneurship</title>
		<link>http://filmmakermagazine.com/67040-tugg-cofounder-nicolas-gonda-on-curators-brand-ambassadors-and-artist-entrepreneurship/</link>
		<comments>http://filmmakermagazine.com/67040-tugg-cofounder-nicolas-gonda-on-curators-brand-ambassadors-and-artist-entrepreneurship/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 13:00:29 +0000</pubDate>
		<dc:creator>Scott Macaulay</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Nicolas Gonda]]></category>
		<category><![CDATA[Tugg]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67040</guid>
		<description><![CDATA[Celebrating its first anniversary at SXSW 2013 was Tugg, the web-based, theatrical-on-demand platform that allows movie fans to create their own theatrical events while also providing exhibition opportunities for both studio and indie films. The company used SXSW to launch its new website, which offers greater analytics tools for event promoters, and co-founder Nicolas Gonda was on hand to talk up some of Tugg&#8217;s recent milestones. Those include the theatrical run of Honor Flight, a doc about World War 2 veterans that, according to Tugg, scored 56% of its total theatrical box-office via the platform. After a limited theatrical run &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67040-tugg-cofounder-nicolas-gonda-on-curators-brand-ambassadors-and-artist-entrepreneurship/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>At CPAC, Republicans Rev Up Conservative Cinema</title>
		<link>http://filmmakermagazine.com/67391-at-cpac-republicans-rev-up-conservative-cinema/</link>
		<comments>http://filmmakermagazine.com/67391-at-cpac-republicans-rev-up-conservative-cinema/#comments</comments>
		<pubDate>Mon, 25 Mar 2013 15:46:34 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[2016: Obama's America]]></category>
		<category><![CDATA[CPAC]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67391</guid>
		<description><![CDATA[The winner of the 2012 Academy Award for Best Documentary Feature was Searching for Sugar Man, directed by Malik Bendjelloul and produced by Simon Chinn. Released in July 2012, it grossed $3,536,058 in box office sales. By year-end 2012, the other four finalists took in a total of $1,724,657. This breaks down as follows: The Gatekeepers, director Dror Moreh and produced by Philippa Kowarsky and Estelle Fialon ($1,418,694); How to Survive a Plague, directed by David France and produced by Howard Gertler ($132,055); 5 Broken Cameras, co-directed by Emad Burnat and Guy Davidi ($101,940); and The Invisible War, directed by Kirby &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67391-at-cpac-republicans-rev-up-conservative-cinema/feed/</wfw:commentRss>
		<slash:comments>5</slash:comments>
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		<title>Five Different Routes to a Web Series</title>
		<link>http://filmmakermagazine.com/66936-the-many-different-roads-to-a-web-series/</link>
		<comments>http://filmmakermagazine.com/66936-the-many-different-roads-to-a-web-series/#comments</comments>
		<pubDate>Tue, 19 Mar 2013 18:30:15 +0000</pubDate>
		<dc:creator>David Licata</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[2 28]]></category>
		<category><![CDATA[Eric Schaeffer: Life Coach]]></category>
		<category><![CDATA[No Clean Break]]></category>
		<category><![CDATA[Planet X]]></category>
		<category><![CDATA[The Unlovables]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66936</guid>
		<description><![CDATA[The web series can take many shapes, from a no-budget serial made in high-school media classes to Joss Whedon’s Dr. Horrible’s Sing-Along Blog to Netflix’s long-format House of Cards. These are just three of probably thousands of web series out there produced, written, and directed specifically for the Internet. But there are other roads to web series. Here are five of them. The Longish Short Film Repurposed into a Web Series Filmmaking partners Jacob Hensberry and Ken Cook had plan for their short film, Planet X, a stylized, modern romantic comedy with sci-fi leanings. “We were going to use the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66936-the-many-different-roads-to-a-web-series/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
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		<title>Dissecting My Brooklyn&#8217;s Success</title>
		<link>http://filmmakermagazine.com/66484-dissecting-my-brooklyns-success/</link>
		<comments>http://filmmakermagazine.com/66484-dissecting-my-brooklyns-success/#comments</comments>
		<pubDate>Wed, 06 Mar 2013 21:34:27 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66484</guid>
		<description><![CDATA[Over at the IFP website, Filmmaker&#8216;s Associate Editor Dan Schoenbrun has a comprehensive case study of Kelly Anderson&#8217;s My Brooklyn. The doc has had unprecedented success at the reRun Theater, selling out countless shows and bringing highly engaged audiences to the theater to both watch the film and discuss the issues it tackles surrounding local gentrification. Here&#8217;s a few choice extracts. Firstly, Anderson discussing &#8220;event-izing&#8221; screenings: I think that it gets at this deep question of – why do you make films? Maybe that’s what people need to do – sit back and think about why they made the film that they made. Do you just &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66484-dissecting-my-brooklyns-success/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Torrenters, Six Strikes and You&#8217;re Out!</title>
		<link>http://filmmakermagazine.com/66412-torrenters-six-strikes-and-youre-out/</link>
		<comments>http://filmmakermagazine.com/66412-torrenters-six-strikes-and-youre-out/#comments</comments>
		<pubDate>Wed, 06 Mar 2013 20:55:26 +0000</pubDate>
		<dc:creator>David Rosen</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Copyright Alert System]]></category>
		<category><![CDATA[piracy]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66412</guid>
		<description><![CDATA[Has a peculiar notice popped up on either your TV set or computer reading: “Copyright Alert! #1”? This notice is the first of six that digital communications users will receive as part of the Copyright Alert System (CAS). Having failed to get Congress to adopt the SOPA/PIPA legislation last year, the movie and record industry trade associations, the MPAA and RIAA, respectively, have taken a second bite at the apple in their effort to address the problem of illegal downloading of copyrighted entertainment content. CAS, which went into effect on February 25, ties the major content trade associations to the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66412-torrenters-six-strikes-and-youre-out/feed/</wfw:commentRss>
		<slash:comments>8</slash:comments>
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		<title>Sundance Selects Pick Up Alexandre Moors&#8217; Blue Caprice</title>
		<link>http://filmmakermagazine.com/66409-sundance-selects-pick-up-alexandre-moors-blue-caprice/</link>
		<comments>http://filmmakermagazine.com/66409-sundance-selects-pick-up-alexandre-moors-blue-caprice/#comments</comments>
		<pubDate>Tue, 05 Mar 2013 21:21:22 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Alexandre Moors]]></category>
		<category><![CDATA[Blue Caprice]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66409</guid>
		<description><![CDATA[IFP Lab film Blue Caprice, a chilling drama about the Beltway sniper starring Isaiah Washington, was today acquired by IFC&#8217;s Sundance Selects imprint. The movie is the debut feature by NYC-based French director Alexandre Moors &#8212; one of Filmmaker&#8216;s &#8220;25 New Faces&#8221; of 2012 &#8212; and had its world premiere in the NEXT section at the Sundance Film Festival earlier this year. Later this month, it is the opening night selection at New Directors/New Films. Commenting on the pickup, Sundance Selects/IFC Films president Jonathan Sehring said, “Alexandre Moors has made one of the most distinct and haunting American independent films of the year &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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		<title>Sarasota Film Festival Announces Partnership with Factory 25</title>
		<link>http://filmmakermagazine.com/66224-sarasota-film-festival-announces-distribution-partnership-with-factory-25/</link>
		<comments>http://filmmakermagazine.com/66224-sarasota-film-festival-announces-distribution-partnership-with-factory-25/#comments</comments>
		<pubDate>Mon, 04 Mar 2013 22:55:13 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Factory 25]]></category>
		<category><![CDATA[Sarasota Film Festival]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66224</guid>
		<description><![CDATA[Today the Sarasota Film Festival announced that it is joining forces with Factory 25 to offer a distribution deal as the prize for one of its competition sections. The winning movie in the Independent Visions strand will get a deal with Matt Grady&#8217;s Brooklyn-based boutique label, which has released many Sarasota alumni films from recent years. Here&#8217;s the info from the press release: The Sarasota Film Festival today announced that its Independent Visions Award will be presented by Factory 25, heralding a new partnership with Brooklyn-based film distributor. The winner of this prestigious award will also be presented with an unprecedented &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66224-sarasota-film-festival-announces-distribution-partnership-with-factory-25/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>The Internet and the Cult Film: On A Fan&#8217;s Notes</title>
		<link>http://filmmakermagazine.com/65996-the-internet-and-the-cult-film-on-a-fans-notes/</link>
		<comments>http://filmmakermagazine.com/65996-the-internet-and-the-cult-film-on-a-fans-notes/#comments</comments>
		<pubDate>Mon, 04 Mar 2013 14:00:42 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[A Fan's Notes]]></category>
		<category><![CDATA[adaptation]]></category>
		<category><![CDATA[cult movies]]></category>
		<category><![CDATA[Frederick Exley]]></category>
		<category><![CDATA[memoir]]></category>
		<category><![CDATA[YouTube]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65996</guid>
		<description><![CDATA[I stopped collecting comic books years ago, and I was never much of a vinyl person. Do you know anyone who truly fetishizes out-of-print books, because I don’t. Who needs rare DVDs anyway? Not suckers with Netflix streaming or HuluPlus accounts. The DVD has only been around 17, 18 years &#8212; what could possibly count as rare, even? Is there such a thing? Perhaps that DVD of an oddly artful B horror film from the &#8217;70s that went out of print in 1996 and has never returned, but piracy has gotten so advanced now, surely you can find a stream &#8230;]]></description>
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		<slash:comments>4</slash:comments>
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		<title>Watch Kenton Bartlett&#8217;s Missing Pieces for Free</title>
		<link>http://filmmakermagazine.com/65995-watch-kenton-bartletts-missing-pieces-for-free/</link>
		<comments>http://filmmakermagazine.com/65995-watch-kenton-bartletts-missing-pieces-for-free/#comments</comments>
		<pubDate>Fri, 01 Mar 2013 22:26:22 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Kenton Bartlett]]></category>
		<category><![CDATA[Missing Pieces]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65995</guid>
		<description><![CDATA[Here&#8217;s a good way to get the weekend started: download or stream for free Kenton Bartlett&#8217;s wonderfully original and inventive Missing Pieces, starring Melora Walters and Mark Boone Jr. The film, which the 24-year-old Bartlett began work on at the age of 19, was made on a shoestring budget but brilliantly used its meager resources to fashion a compelling and unique narrative. Birmingham, Alabama-based Bartlett cites filmmakers like Christopher Nolan as inspirations, and indeed Missing Pieces has much of the ambition and canny creativity of Nolan&#8217;s early works such as Following and Memento, though it has more heart than those &#8230;]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Gambling on a Distribution Strategy</title>
		<link>http://filmmakermagazine.com/65543-gambling-on-a-distribution-strategy/</link>
		<comments>http://filmmakermagazine.com/65543-gambling-on-a-distribution-strategy/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 19:41:33 +0000</pubDate>
		<dc:creator>Isaac Feder</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[distribution strategy]]></category>
		<category><![CDATA[Life on the Line]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65543</guid>
		<description><![CDATA[Until I shot Life on the Line, I never realized how much independent filmmakers and professional gamblers have in common. Many of us leave our hometowns, move to the center of the action, and risk everything to make it in a nerve-wracking and highly competitive environment. Every bettor is a long shot to succeed, just like filmmakers who dream of making their first picture in Hollywood. After spending the last two years meeting, interviewing, filming, and befriending some of the most colorful and successful bettors in Las Vegas, I can honestly say that we’re a lot more alike than I &#8230;]]></description>
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		<slash:comments>2</slash:comments>
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