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Vision Forum to Host the First Annual San Antonio Independent Christian Film Festival and $ 10,000 Jubilee Awards

SAN ANTONIO, TX (PRWEB) April 22, 2004 -

— The Vision Forum, Inc.® is pleased to announce the first annual San Antonio Independent Christian Film Festival and Jubilee Awards. The event will host independent Christian film shorts produced by a new generation of enterprising and creative Christian filmmakers, including home educators, film students of all ages, and independent professionals. The festival will feature film screenings, exciting cultural events, special classes, and workshops with talented directors and filmographers.

“America is discontent with Hollywood’s negative monopoly stranglehold on film and culture,” said Doug Phillips, president of the Vision Forum. “The intense hatred by Hollywood elites for Christianity and the value system which it embodies has created a rift in American culture, and profoundly damaged the American family. We intend to respond, not by cursing the darkness, but by lighting a candle.”

“We seek to motivate the next generation of filmmakers to raise a presuppositionally Christ-honoring standard, and to develop alternative vehicles outside the Hollywood machine for producing and distributing films which will build, bless, and benefit the American family.”

“We believe the Hollywood monopoly is about to be broken,” Phillips said. “Thanks to the development of inexpensive and readily accessible technologies, the success of new channels for distributing films, and the rise of a new generation of entrepreneurial and creative Christian filmmakers, there never has been a better time for Christians to influence their culture for Christ.”

“By providing a platform for Christians to present their art, and by offering appropriate recognition for excellence in Christian film production, we hope to encourage this movement for the glory of God.”

Amateur and professional filmmakers from around the nation have a rare opportunity to present their distinctively Christian films, to have them critiqued, and be rewarded for their hard work. The event will take place in San Antonio, Texas, November 11-13 at the newly expanded 1.3 million square foot Henry B. Gonzalez Convention Center. The Jubilee Awards for Christian film shorts will be presented to the best narrative, best documentary, best political, and best creation film. The $ 10,000 Jubilee Award grand prize goes to the best film of the festival. A best film trailer and an audience award will also be presented.

For more information on the San Antonio Independent Christian Film Festival and Jubilee Awards, or to join us at the event, please visit the festival Web site at: http://www.independentchristianfilms.com

Press Contact:

Mark Stubblefield

The Vision Forum, Inc.

press@visionforum.com

http://www.independentchristianfilms.com

©Copyright 1997-, Vocus PRW Holdings, LLC.
Vocus, PRWeb, and Publicity Wire are trademarks or registered trademarks of Vocus, Inc. or Vocus PRW Holdings, LLC.

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Alexandra Rose Rieger, teen Musician, Actress (“Akeelah and the Bee”) and Youth Ambassador for ‘In A Perfect World’ Foundation created and hosted a star studded event at The Los Angeles Ronald McDonald House (RMH) for children and families. This two-evening event was called ‘A Star In You,’ which provided a “fun and safe platform for children to star in their own variety show,” explains Rieger.  An article about this event is expected in November”s issue of Teen Vogue.

 

Alexandra Rose Rieger     “A Star In You” Poster

 On the first night, after the children and their families enjoyed ice cream, they were able to stand in the spot light as they explored and shared their inner stars. The footage was captured by Josh Sands, CEO of Hollywood Film and Acting Academy and highlights were edited in a short film. The second night, the children and their families walked the red carpet with other teen celebrities as they were celebrated as “stars” in their very own film.

Manuela Testolini, founder of ‘In A Perfect World’ (IAPW) pictured with girls who are at The Los Angeles Ronald McDonald House. IAPW sponsored “A Star In You” event. 

 

‘A Star in You” was sponsored by ‘In a Perfect World’ Foundation, which was founded by social entrepreneur Manuela Testolini where newly appointed Executive Director is Dr. Towanna Freeman. The event was supported by Hollywood Film and Acting Academy, Looking Ahead Program (division of SAG), and Ben and Jerry’s in conjunction with The Ronald McDonald House.

 

“A Star In You” event opened with Ice Cream provided by Ben & Jerry’s in Long Beach.

 Alexandra Rose Rieger at “Arts and Crafts” station of “A Star In You” event

 

 Alexandra Rose Rieger, teen philanthropist, has been involved with fund raising and supporting The Ronald McDonald House for several years. They play a key role for families nationwide by providing a home away from home for children and their families while critically ill children undergo treatment at local hospitals. Rieger is currently working on several projects including an upcoming ep which will be released in December 2008. In contemplating possible events as a Youth Ambassador, she drew inspiration from her upcoming singles. “Harmony,” which explores the passion of peace and the power in unity. Her song “Fairy Tale,” shaped the fairytalesque decorations with plenty of red, gold and royal blue colors; as well as stars, balloon bouquets and featuring real red carpet on premiere night. Mama and Paparazzi were also on hand to capture the keepsake memories of their brave cherished ones, most donning smiles. A precious commodity that often is lost amidst steely resolve during difficult times of treatment and recovery.

 

Teen celebrities participating in “A Star In You” 2nd Row Left to right: Musician/Actress and Youth Ambassador, Alexandra Rose Rieger (Akeelah and the Bee), Jillian Clare (General Hospital) Matthew Underwood (Zoey 101), Christopher Recupito Rossi (Miss Behave), Maiara Walsh (Cory In the House) From left to right front: Sammi Hanratty (Pushing Daisies), Joey Luthman (WEEDS).

 Many thanks to RMH staff who were accommodating and supportive. As a token of appreciation, ‘In A Perfect World’ provided their libraries with the premiere movie, showcasing how people coming together using funds in a strategic way can improve the quality of life of the RMH guests. A shorter form of this video can be seen online on you tube. When you support ‘In A Perfect World, you are helping empower youths to become socially conscious and responsible leaders; please visit www.iapw.org to begin today.

 Congratulations to all the fellow teen celebrities who joined Alexandra for this momentous occasion: Jillian Clare (Days of Our Lives), Matthew Underwood (Zoey 101), Joey Luthman (WEEDS; An American Carol), Christopher Recupito Rossi (Miss Behave; Zoey 101); Maiara Walsh (Corey In The House), and Sammi Hanratty (Pushing Daisies, Suite Life). To view video of IAPW promo from the event click here.

 Group shot of Children and Families of LA Ronald McDonald House, IAPW Team and Teen Celebrities at “A Star In You” event.

 

Alexandra Rose Rieger’s music can be purchased on iTunes and Yahoo music. Rieger is a published author, please visit her website www.AlexandraRieger.com where her book “Harmony” can be purchased. As an attendee of Oprah’s Legend Ball Premiere, Rieger is cognizant of the fact that she stands on the shoulders of those who come before her. View scenes from her multi city tour of Africa and Europe scored to her hit single “Harmony” please follow this link. Proceeds from these purchases go to support ‘In A Perfect World’ and other charities that benefit children. Those of you who have a heart to make a difference, this is a wonderful way to join hands and make things happen now.

 

Group shot of participants of “A Star In You” Premiere/Red Carpet Night.  Guest included teen leaders from Looking Ahead as well as IAPW Team, Teen Celebrities celebrating the children and families at the Los Angeles’ Ronald McDonald House.

Have you any wool?
When a flock of sheep cry “wolf” in China, the bucks come rolling in. Wang Wei looks at the new stars of Chinese animation that are edging out old childhood icons like Mickey Mouse and Hello Kitty.

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Some cool new release movie images:

Tarantino Kill Bill Vols 1 & 2

inglouriousbasterds-movie.com

Soundtrack streaming (for now)

www.spinner.com/new-releases#/3

twitter.com/TheRealBasterds

www.castrotheatre.com

Quentin Tarantino’s Inglourious Basterds opens Aug 21 at the Castro

inglouriousbasterds-movie.com

Soundtrack streaming (for now)

www.spinner.com/new-releases#/3

twitter.com/TheRealBasterds

www.castrotheatre.com

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by vancouverfilmschool

…and how to turn this situation around.

The first time I ever set foot on a movie set was back in 2001 (working as a boom operator on a Sarah Polley short film). Since that day my passion for making movies has only grown and intensified. But one underlining question that continues to run through my mind is…why do most (95% or more) Canadian films tank at the box office.

Ask any Canadian filmmaker this question and you’re sure to start up a very long and never-ending conversation that might leave you wonder what made you want to open that can of worms. Well, I’m going to open the can of worms…just for this article. I’m so proud to be Canadian and our industry produces world-class movies year after year, however, these films just don’t seem to make any money (profit).

I found a great article by Canadian actor, writer and producer, James O’Regan that explores this matter in further detail:

Over the last year or so, a great teeth-gnashing has broken out within the Canadian Movie industry. Producers and their public sector confreres at Telefilm Canada sat down to wonder why no-one saw Canadian movies in the theatres. And now Telefilm has unveiled new money to throw at the problem.

In case you don’t know, Telefilm Canada is an arms length crown agency that has no public accountability via a “value for money” audit unless its own board of directors thinks it needs one – wow, get me on that gravy train, quick! It has generated, over the last 30 years, an industry wholly ignorant of Canadian theatrical film markets and wholly dependent on cultural welfare in the mistaken belief that you just can’t make any dough here a mare usque… I and every American film distribution company on the planet know different. I know because I’ve made money in the Canadian box office, in fact more money on one film than all Telefilm films on average. My short comedy, Edsville – about an innocent young couple that stumbles upon a town of Ed Sullivan impersonators – has a recoupment rate of 20% while the average recoupment rate published in Telefilm’s annual report, year after year, hovers at 2%-ish. I’ve also observed what our Yankee cousins actually do. All you have to do is ask them and they’ll actually tell you – hey, who knew?

So let’s see what it takes to make money and sell movies in Canadian moviedom. Here’s the top 12 for anyone who wants to make M on a movie in three weeks in Canada:

Rule # 1: No one knows what sells

Rule # 2: See Rule # 1, no, seriously, memorize Rule #1. I’m not saying this only to make the list apostolic, really. I could make something else up.

Rule # 3: Anything that helps sell is good

Rule # 4: The public will pay to see things or people they really like

Rule #5: Exploit people or things that the public likes

Rule #6: The Canadian Public doesn’t care who directs, writes or produces movies

Rule #7: The Canadian Public pays to see “people” on the screen. Actors are the Product

Rule # 8: The Canadian Public loves Stars

Rule # 9: Make sure you have a story

Rule #10: Comedy Sells (Canadians are masters of comedy)

Rule #11: Do everything you can to ensure the Canadian Public knows about the movie

Rule #12: To the risk taker goes the reward. All else is bunk.

To manufacture and market a Canadian movie to the Canadian market, you have to invest .5M. Making the movie costs CDN .5M. Marketing the movie for a 100 screen three week release costs CDN M.

Let’s take a look at how much money you can make. A 100-screen release can generate up to M in revenue. If you control the marketing with your M, you get M back from your .5M investment. Isn’t math for fun and profit great?

If you don’t spend that M, you are guaranteed to make nothing at the Canadian box office. Telefilm Canada and its producers don’t spend the money and the results are predictable. Movies funded by Telefilm Canada don’t earn a profit from Canadian box office; they don’t even recoup. Telefilm Canada data shows that Canadian distributors have an average marketing budget per Canadian film of ,000 – about 0K short of what they need; that this average results from a blend of a majority of films released with an actual budget of less than ,000. Hoo boy, why aren’t these films making the big bucks, eh?

Let’s say it again for the benefit of Telefilm and its Canadian producers, you must spend M regardless of a movie’s budget to have a chance at success.

Had the recent Egoyan opus, The Sweet Hereafter, received M in Canadian marketing highlighting the divine Sarah Polley, it might have made some bucks. After all, Polley has a following in Canada – more of a following than Egoyan. Yet it was Egoyan that the producers tried to market, not Polley. The little money that was spent was spent foolishly – see rule #6.

Even a American B movie like Nurse Betty gets the full M marketing treatment. Learn the lesson from American distributors who know better; who do spend M for each film they release in Canada.

Here’s the best part about making sacks of cash in Canada. Manufacturing, distribution and marketing infrastructure are all 100% in place. All you have to do is come up with a movie to market and some cash to market it with. Hey, pinch me!

Why isn’t it working now? Why is Telefilm’s record so dismal? Public policy has intervened in the movie business only at the level of manufacturing – dolling out wallops of cash to make movies. The new funds maintain that approach. This is simply bad policy and we have bank vaults full of unseen films to prove it.

The only successful public policy intervention on the books are Canadian Content (CanCon) rules for the Canadian music industry. There, public policy told the radio stations (the exhibitors) that they had to play a percentage of Canadian music or else they would be shut down. Today, we have a thriving music industry with big Canadian stars.

Before CanCon in the music industry, Canadian Radio stations played about 3% of Canadian content. After CanCon, it became 30%. Can-con drove the business of the Canadian music industry. It supported the early market-driven development of Canadian music stars. It allowed financial and artistic success in the small Canadian market. Remember there was no success before Can-con rules for the music industry. That Canadian-based market success worked as a springboard to world success for many Canadian performers. It took a while to work but work it did.

Marketing is simple. It just costs money. With its new infusion of funds, it appears that Telefilm will try to mystify the process per usual, read the entrails and divvy up the dough without recognizing rule # 1 – no one knows what sells. That is the mystery and joy of movie selling – ya just don’t know and no-one can give you the magic bullet, i.e. previous box office records, e.g. think how many major studios have hit rock bottom with a series of losers only to bounce back “unexpectedly.”

If public policy is going to intervene, it should get out of movie production and into the marketplace with CanCon for Canadian cinemas. Set a quota, step out of the way and voilà: in five years, we will have a thriving movie business with big Canadian stars. Movie producers are much better at making movies than cultural bureaucrats. I know, call me crazy, but it’s true.

CanCon rules for the Canadian movie business are one means of helping create movies and movie stars without spending a lot of tax dollars. That’s all they do. Canadian movies don’t need it to succeed but if government is to intervene to help reward risk, then that’s the best way and means of intervention, and cheaper too.

For public policy, how bad could it be to issue an “initiative” to exhibitors across the country, insisting that 10%, 20%, 30%, 40% of product viewed in Canadian cinemas must be indigenous Canadian product over a period of years. Then stand aside and let the industry do what it does best: sell movies.

Hey, it ain’t that hard. After all, no one, not even Hollywood, knows what sells. Remember rule #1?

How to turn this situation around?

Now, it’s time for me to add in my two cents worth. We (the Canadian film industry) need more film studios here in Canada. I’m not talking about some glorified soundstage like Filmport but a full-fledged independent movie studio that has 100% control of the financing, development, production and worldwide distribution of their movies. These Canadian movie studios should have only two objectives:

1)     To make movies that will entertain millions of people around the world. Focus on giving moviegoers what they want and according to the current all-time North American box office stats…people want to see movies with Action, Animation and Special effects. Success leaves clues.

2)   To maximize profits.

That’s it. When that day happens, then we’ll definitely see a lot more Canadian films reaching the #1 spot at the box office. Both domestically and overseas.

Ian Agard
Filmmaker & Author of “Stop Waiting and Make Your Movie” 
http://www.ianagard.com 

P.S. Get info about my new ebook at:

http://www.ianagard.com/how-to-finance-your-movie

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A few nice hollywood film images I found:

gm_03702 Hollywood Freeway Church and Sign 1983


Church besides the Hollywood Freeway at Hollywood Boulevard in Hollywood, California with Hollywood sign in background.
Seen through the Los Angeles smog in November 1983. I was on my way home after another trip to Australia.

Charmed


This Victorian style home was the location for filming the TV show Charmed starring Alyssa Milano, Shannen Doherty, Rose McGoven, and Holly Marie Combs. This was Dan’s home, which is next door to the girls home. This house is a private residence in the Echo Park area of Los Angeles, CA.

Hollywood Sign


Feb 2008. Taken from Mulholland Dr.

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Short Film Shot in Ecuador Looks for Financing to Shoot Feature at Independent Feature Project Market in New York

New York, NY (PRWEB) September 17, 2007

!Salve, Oh Patria!, a short film shot in Ecuador, South America by Spanish first-time director Alicia Diaz is set to look for financing to shoot the feature film at the IFP Market in New York City the week of September 16.

¡Salve, Oh Patria! or Fight For Country in English, is about an American widow living in Ecuador, South America, who struggles to get her son out of jail after he is imprisoned during an uprising against the government. Her son Gabriel is determined to follow in his popular Socialist father’s footsteps after his assassination by powerful American oil men.

The film was shot in the summer of 2007 in Ecuador by a production team from the New York Film Academy that consisted of a crew from Spain, India, and the US. In addition, there was a local crew that was a huge help to these experienced film students.

“The goal was always to produce this short film to showcase our talents to potential financiers — my vision was to produce a short film first, participate in the film festival circuit and then start raising funds to finish the feature,” says Alicia Diaz, writer, director and producer of the film.

Production company NetHead Films, Inc., headed up by Producer William Henao has recently launched the website for the film complete with trailer, production notes, photo gallery, crew bios and more.

“We’re looking forward to attending the IFP Market and conference to showcase our work and hopefully get the financing needed to work on the feature film to be shot in 2008,” says William Henao.

For additional information visit http://www.FightForCountry.com.

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©Copyright 1997-, Vocus PRW Holdings, LLC.
Vocus, PRWeb, and Publicity Wire are trademarks or registered trademarks of Vocus, Inc. or Vocus PRW Holdings, LLC.

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by vancouverfilmschool

If you’re a budding film maker or a movie fanatic then a trip to New York is the ideal place for you to spend a holiday. Most of the biggest movie producers have head quarters here so if you’re looking to get a foot in the door then the city can offer up some inspiration and the chance of bumping into one of the many industry big wigs at a local coffee shop. New York is the best place to go for any film buff as many of the world renowned film festivals are held here every year.

New York is passionate about independent film so a trip to the New York Independent Film and Video festival, which was founded in 1993, is a must for any filmmaker just starting out. You can submit films to the competitions or simply attend the festival to watch some of the quirky and unique films on offer. If you’re a horror film fanatic then the New York City Horror Film Festival is sure to get you quaking in your boots. The festival, which takes place late October, early November was first established by Micheal J. Hein in 2001 and has grown in strength ever since. Some of the best horror flicks of the year are championed here and can gather a dedicated fan base that has been known to propel, otherwise unnoticed, films to the big screen.

Some of the most talented directors and actors have started their careers with short films so a trip to the New York City Shorts Festival will show you how to get ahead in the business. The festival hosts some of the best and most innovative short films from around the world so getting your piece accepted here can be a great starting block for your future career. The festival, which takes place in mid-September, is also a great way to spot exciting new talent before they hit the big time.

If you’re looking for some glamour and star spotting then Tribeca is the place to be. The festival was founded in 2002 in response to the attacks on the World Trade Centre and it features some of the biggest and best films of the year. This community conscious event draws in celebrities and industry professionals from around the globe and is often hailed as New York’s most popular film festival.

Regardless of the fantastic festivals New York has to offer the city is a great place to simply soak up some inspiration and meet creative people. Making your way to New York doesn’t have to blow your production budget either as New York City hotels range from the luxury five star palaces to cheap and cheerful bedsits. Whether you’re a budding filmmaker or simply love a good movie then a trip to New York can open up the world of cinema and maybe offer some inspiration for your movie making debut.

Check out more HD videos, in partnership with Crush + Lovely & Deltree at fiftypeopleonequestion.com and now at http Update: My production company Deltree, is hiring an intern- check out the details at thedeltree.org The Story: Around two months ago when we set out to film, it was another New Orleans day. A sure sign was the radiating humidity that made your entire body feel like it was covered in a sort of sweaty film. Once you get past the initial fear of the inevitable grime and heat, you feel a certain energy or “atmosphere”- like a kid throwing himself without reserve into a mud fight. We had an idea: ask as many people as possible the same question. We didn’t know exactly why- I guess we were hoping to expose a slice of human emotion (maybe). Just the simple act of reaching out and asking the question is such a enthralling experience in itself. So go ahead, ask yourself….. thedeltree.org http The Specs: Shot on an HV20 with a 35mm adapter, Worley/DIY. Indifocus rails on a Matthews M25 tripod. Nikon e series 50mm 1.8. Shure PG81 into a Zoom h4 unit. Boom Operator = Tung Bach Ly. “On location” in New Orleans, LA. Magazine St.
Video Rating: 4 / 5

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IFP Los Angeles Film Festival and the Festival Rag Announce Partnership

NEW YORK CITY, NY (PRWEB) January 23, 2004

The Festival Rag, a new online periodical dedicated to true independent filmmaking and filmmakers, has recently announced a new partnership with the Los Angeles Film Festival.

The Festival Rag, through the online entertainment portal KeMeK (http://www.kemek.com), recently emerged as a major voice in independent cinema. Since its flagship issue in November 2003, this new ally of indie-film has gained staggering momentum, and is now broadcast to thousands of media-industry subscribers. Yet, it is the Festival Rag’s grass-roots approach that, by turns, created a hub for the independent film community to network, aquaint and communicate.

The IFP Los Angeles Film Festival (http://www.lafilmfest.com), held annually for ten days in June, showcases the best of American and International independent cinema. With an attendance of over 40,000, the festival screens over 150 narrative features, documentaries, shorts, and music videos. Now in its tenth year, the Festival has grown into a world-class event, uniting new filmmakers with critics, scholars, film masters, and the movie-loving public. Slated for June 17 – 26, 2004, the IFP Los Angeles Film Festival promises to maintain its reputation for excellence in showcasing the best of independent film.

The Festival Rag will be recognized a Promotional Affiliate of the 2004 IFP Los Angeles Film Festival, in a partnership of two entities whose targets in the promotion of independent cinema are closely linked. “The primary goal for The Festival Rag is to amplify the voice of independent film,” says Myles Samuel Iezzi, Publisher of The Rag. “The impact of joining forces with IFP Los Angeles Film Festival will be profound because we share a similar vision in the world of independent cinema.”

“There are great films and filmmakers out there who can’t be heard over the hundred-million dollar din of the blockbuster,” says Dave Roberts, Managing Editor of the The Festival Rag. “Our mission is to help shed the light on these films by exploring the best venues for them to gain attention. The IFP Los Angeles Film Festival is one such venue.”

The union between the IFP Los Angeles Film Festival and The Festival Rag is regarded by both sides as being a great step forward in reaching the goal of catapulting independent film to a more broad audience. “We at the IFP Los Angeles Film Festival are excited to be working with the Rag to bring independent film to the people,” says Rich Raddon, Director of IFP Los Angeles Film Festival. The festival has left its mark on the world of independent cinema by forging another avenue for filmmakers’ work to be showcased, while The Festival Rag explores the meaning and depth behind the festivals and films that make independent cinema what it is today.

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