CineVegas Blog

If you’re like me and find yourself trolling daily across the various video on demand portals in search of great independent films then you’ve noticed a slew of unseen gems, including a few CineVegas alumni, have recently become available. One of the main people responsible for this influx of indie fare making it to your computers and TV screens is Matt Dentler who, as Head of Programming and Marketing for the newly minted Cinetic Rights Management, is one of the few pioneers in this new frontier of digital rights and distribution of film. Matt was kind enough to answer some questions about his role and ideas on the future of movies in the age of Netflix, iTunes and Amazon.

Having been part of SXSW at various levels for the past 10 years, including programming for the last five, what was it about the opportunity at Cinetic Rights Management (CRM) that interested you?

I felt like the new job was an extension and growth on what I was doing at SXSW. The new gig allows me to help filmmakers get their work seen but also to help audiences find new and interesting films. That’s what always attracted me to festival work, and that’s definitely the first thing to attract me to this job at Cinetic.

How did the opportunity at CRM come about? Was there any hesitance, especially considering the untested waters of this new space?

John Sloss called me about two weeks after SXSW ended in March, and we started talking about it right away. Of course, it’s a new space and a new part of the film industry, so it’s full of unanswered questions and unknown outcomes. But that’s honestly what got me excited, the idea of being a part of something new.

What does your role entail? Greatest challenges?

My role, like almost any job in indie film, is all over the place. Mostly, I look at the films we’re bringing in to represent and start working on strategies for how we’re going to release them. That’s the simple explanation, but every day it’s unpredictable. The greatest challenge is probably convincing people who aren’t familiar with this space, that it’s highly viable.

How has the interest and/or concern from independent filmmakers developed in regards to digital rights since you’ve been at CRM?

Thankfully, I think more and more filmmakers are growing aware and open when it comes to digital rights. There’s still a lot of outreach and campaigning to be done, so that filmmakers can see the tangible benefits, but that’s a task we’re happy to take on. The landscape for all media is changing, and I think filmmakers and all artists, will be best suited if they start exploring these options.

Why should filmmakers look to CRM in distributing their films digitally rather then doing it themselves?

A few reasons. First of all, not every portal will work with filmmakers on a case by case basis. They will only work with a content company like ours. Second, we’re actively engaged in getting filmmakers the best placement and the best promotion, which is a major aspect of this realm that filmmakers may not be as able to take on if they don’t have the relationships we do. And, without a doubt, I feel like filmmakers need to focus on making films. Let someone else help you get your film out there, so that you can continue making new and innovative work. Plus, we’re not acquiring the digital rights, we’re simply serving as a representative. So, this way, a filmmaker can have a trusted company do a lot of the legwork while still retaining ownership.

Are there specific types of films you go after for digital rights?

We’re primarily looking for quality, no matter the genre or age of a film. It’s our job to help a filmmaker identify the digital value, and we take that very seriously.

How do you choose which portals to distribute content through? I’ve noticed you’ve distributed films on Hulu, iTunes, Netflix, Amazon VOD and Joost. And do you find certain content is better for certain portals?

Our policy is to distribute to every portal both in America and overseas. It’s our duty, on the behalf of the filmmakers, to leave no stone unturned. We began placing films online in July, so we’re still growing the number of portals and partners. That said, it’s probably too early to determine what kinds of films work best in which portals.

What sort of new ways of thinking had you have to get your head around when it comes to film distribution?

Personally, not many, only because this is an aspect of film distribution that I’ve always been passionate about. For others, I think it’s important to remember a few things: 1. a theatrical release is not always the smartest idea for every film, 2. releasing your film digitally is not restricting it to only a laptop computer, and 3. Look at younger generations today and how they consume film, TV, video games… and think about how their tastes are going to change the distribution options.

Where do film festivals fit into digital releases?

I’d love to see more simultaneous festival and digital releases for films. So many films out there get their biggest dose of exposure during the festival circuit, so why not release it to the world at the same time?

What sort of competition do you face from other aggregators?

There are similar companies doing similar work, but I don’t think there are any two identical digital film aggregators. I think all of us offer something unique.

What are your biggest successes so far?

I’m just thrilled to see new films like HAPPY BIRTHDAY HARRIS MALDEN or ON BROADWAY do healthy business right along side indie classics like METROPOLITAN or THE TIMES OF HARVEY MILK. It just shows that the appetite for this content, in these formats, is strong.

Where do you see the future of film distribution five years from now?

I think you are going to see more and more distribution happening digitally and directly to people’s homes. The theatrical experience is never going to die, and I hope it stays healthy for a long time, but increasingly an on-demand envrionment is what people want. And, in many cases these days, that makes the most sense.

Photo courtesy of austin360.com

Not your typical Las Vegas strip club show, “Pole Dancers” is an art piece created by Giles Walker that’s made from raw materials found in various scrap yards and controlled via a PC. The CCTV headed androids gyrate with the cold sensibility of a machine, but try their hardest to be as sensual as their human counterparts. Giles Walker comments about the piece:

‘PEEPSHOW’ - we are now all living in a peepshow. Continually being watched by mechanical peeping toms.

With this in mind, I wondered if it was possible to literally make a CCTV camera sexy using simple mechanics…and by using the imagery of a pole dancer  question the roles played in voyerism. Could this pile of old windscreen wipers and odd pieces of metal become something sexual…

Alumni film LOREN CASS, which we World Premiered in 2007, makes it’s way to Amazon Video On Demand today. Here’s the link where you can rent it for $2.99 or download to own for $9.99.

LOREN CASS is not a coming-of-age movie or a loss of innocence—all innocence is lost from the opening scene. Rather, it’s about what comes next; figuring out what to do when you learn you’re not destined for greatness. Young director Chris Fuller captures some amazing subtleties in the everyday rhythms of life, but he provides punk rock explosions along the way. The tension of a post-riot city and the juvenile lust of the chief protagonists is all over the screen, but Fuller finds a restorative balance, showing life as it’s lived without letting nostalgia dim the drama.

If you’re planning to stay in for New Year’s Eve we have a simple three step solution on how you can turn it up a notch on your living room revelry.

Step 1: A Bit of Bruce
Available December 31st on Amazon Video On Demand is cult king Bruce Campbell’s MY NAME IS BRUCE which we premiered as a work-in-progress in 2007. (Urban legend has it that Mr. Campbell sat in the back of the theatre adjusting the volume knob on the fly.) MY NAME IS BRUCE is the story of the residents of Gold Lick, Oregon, who decide to kidnap EVIL DEAD star Bruce Campbell, who surely can help them defeat the evil monster (the Chinese God of War) that is terrorizing their small town. Unfortunately, the belligerent, boozed up B-movie actor “Bruce Campbell” has no skills, so their shot at salvation seems to amount to nothing more than a monumentally bad idea. Get the film here on Wednesday and have it prepped on your TiVo or computer.

Step 2: Movie Themed Libations
Go now to the Sloshspot Blog for their list of film themed cocktails so you can hit the store and get the necessary ingredients. The RAGING BULL looks particularly interesting with a mix of Kahlua coffee liqueur, Sambuca and 1800 Tequila. If you’re looking for sophisticated simplicity then THE GODFATHER cocktail with it’s mix of Scotch Whiskey and amaretto almond liqueur will be an offer you can’t refuse (sorry, couldn’t resist). There’s a dozen more cool mixed libations that go from the fruity to the insanely nutty depending on your level of sloshed commitment.

Step 3: Mix Step 1 and Step 2 together
With your TiVo, or computer, primed and a drink or two in each hand, press play and enjoy a sensation normally felt during the CineVegas Film Festival: experiencing the boundaries of cinema against an intoxicating environment. Feel free to repeat as needed. Also need to throw in the prerequisite “drink responsibly” message. Have fun, but be safe, we want you to be around in 2009 to attend the Festival!

If you do partake in this CineVegas style New Year’s celebration, please take photos and send to us at info@cinevegas.com. Would also love to get your experience in the comments below.

Happy New Years all!

Las Vegas artist, Sean Clauretie, has a cool movie themed piece up for sale as part of the Crazy 4 Cult show. Called “Buffer Overflow” the piece depicts Richard “Data” Wang from the cult fave, THE GOONIES, exposing all his homegrown inventions. Check out the gallery site here to buy a signed and numbered edition of 100 for $100. “Pinchers of Peril…saved by my Pinchers of Peril!”

The Los Angeles Times has a sobering article, for those still living in the the 90’s, on the end of the format known as VHS. It’s a bittersweet overview on something that I grew up on, collected and used to make my own library of favorite films with. I can still remember the bookcase of VHS tapes I had in my room filled with recorded copies of TALK RADIO, ROBOCOP, EMPIRE OF THE SUN and countless others that helped form my love for film. The LAT article points to a landmark day signaling the end of our old bulky spooled friend:

After three decades of steady if unspectacular service, the spinning wheels of the home-entertainment stalwart are slowing to a halt at retail outlets. On a crisp Friday morning in October, the final truckload of VHS tapes rolled out of a Palm Harbor, Fla., warehouse run by Ryan J. Kugler, the last major supplier of the tapes.

“It’s dead, this is it, this is the last Christmas, without a doubt,” said Kugler, 34, a Burbank businessman. “I was the last one buying VHS and the last one selling it, and I’m done. Anything left in warehouse we’ll just give away or throw away.”

Read the whole article here and just try not to shed a tear. Seriously.

The much buzzed about SLUMDOG MILLIONAIRE opens in Las Vegas theaters this weekend. Directed by Danny Boyle (TRAINSPOTTING, A LIFE LESS ORDINARY, SUNSHINE) and Lovelee Tandan, the film tells the story of how an impoverished Indian teen became a contestant on the Hindi version of “Who Wants to be A Millionaire?” — an endeavor made without prize money in mind, rather, an effort to prove his love for his friend Latika, who is an ardent fan of the show. The film has played a number of film festivals around the world, and was recently nominated for four Golden Globes. The film plays in Las Vegas at the following theaters: Regal Colonnade, Rave Motion Pictures, Century Sam’s Town, Century Orleans and Regal Village Square. For more info and show times, visit the film’s website.

After having attended The Conversation and the International Film Festival Summit, as well as having read numerous articles and taking part in numerous discussions, I’ve been thinking about what 2009 might bring in terms of film distribution and consumption. Here’s a quick and dirty download of my thoughts as we head into the new year:

Bringing online content to the TV

Whether it be Netflix Watch Instantly, Amazon Video On Demand or iTunes the online film space is not without a lot of choice. However I think the most successful of these options will be those that make it easy to bring content to your television set. Since Microsoft recently overhauled the Xbox LIVE experience, literally dubbing it the “New Xbox Experience” or NXE, I’ve been hooked on the Netflix application that allows me to view any film that’s currently in my Watch Instantly queue. It’s such an easy idea that extends the value of both products without asking me for extra money. Plus I get a sense of no-risk comfort in watching films I might not otherwise give a chance if I had to pay-per-view.

This year though we’ve seen the trend of set top boxes, such as the Roku or the Blockbuster MediaPoint player, created specifically to deliver this streaming media. I just don’t think people are willing or able to add yet another box on top of their already cluttered TV in addition to their DVD/Blu-ray player, gaming console, TiVo or cable company provided DVR. Faced with this inundation of devices most will end up viewing this media on their laptop which I guess is suitable to some. For most the key is to utilize already existing components, like the TiVo, the above mentioned Xbox, or hopefully nextgen Blu-ray players, to bring that online content to the living room. The Netflix/Xbox and TiVo/Jaman partnerships are the first step in making this happen, the synergy of which will help connect the fractured content landscape in 2009.

Physical media will not die

Speaking of Blu-ray and DVDs I don’t agree with the consensus that it’ll soon be tolling the death knell. Online video is strong in rental, but I don’t know many people who have bought-to own digital films. There’s something very satisfying about owning a tangible version of your favorite movie. I had a great conversation with experimental filmmaking legend Craig Baldwin during the 2008 festival about the idea of “physical artifacts”. For some psychological reason the idea a film exists in a compact package, or artifact, you can lend or add to your bookshelf is far more powerful then the notion that you “own” it on a hard drive, a digital void that’s out of sight. That’s why companies like The Criterion Collection go above and beyond to make the physical packaging just as beautiful as the screen presentation because the film as it exists on screen is tied so closely to the amaray case it exists in after you’re done watching. It’ll be interesting to see how successful their new Online Cinematheque is since they are stripping away that tangible component. If that seems like too much of an esoteric stretch then let’s look at it in a more nuts and bolts way.

Most recently THE DARK KNIGHT, selling 10 million units, and MAMMA MIA! THE MOVIE, selling 2 million units in it’s first day, have done huge blockbuster sales amidst a grim economic backdrop. The fact that these films exist in HD on iTunes hasn’t slowed down their plastic disc counterparts. Now I’m not saying online distribution won’t succeed, I’m just saying it will succeed, but only in the rental realm. Instead of popping on down to your local Blockbuster you’ll instead power up your Xbox or TiVo and order something while in your pajamas. Actually I predict the rate of rentals increasing due to the easy access and the spontaneous nature of having it right at your fingertips. Physical media will coexist right along with digital media, but each for different purposes. One to own and one to taste test.

Short form content is online king

Duh, right? Then why are companies still trying to push for feature film distribution through widgets and the like? Who wants to watch a two hour movie on a 2-inch by 2-inch size player? Go to what’s this year’s success story, Hulu, and see what the top 20 viewed videos are. Most are between 10 - 20 minutes with a smattering of 44 minute episodes. The first feature film doesn’t show up until #27 with the THE FIFTH ELEMENT. The fact that a big Hollywood film on a popular video site that’s being shown for free can’t even break into the top 20 reveals a lot about our viewing habits.

The Wild Wild West of the web is a 50/50 affair. 50% of it is spent looking for specific content while the other 50% is spent just exploring the frontier. It’s this latter half of our online habit that distributors rely on to try and hook you into viewing their film. Hence sticking a film widget or library widget on a website sidebar hoping for you to click and view, but that just doesn’t happen, not when your initial 30 minutes of surfing the web can turn into a 2 hour investment. The best way to work with this is to show the first 5 - 10 minutes and if the viewer wants to see more then give them the option to purchase the rest either by finishing it online or downloading to a TV set top box. I saw a great interview with Netflix CEO Reed Hastings at The Conversation where he said that most customers viewing a “Watch Instantly” film online who make it past the 5 minute mark end up finishing the film. (Interesting to note that Amazon Video On Demand only allows you to see the first 2.5 minutes before demanding that you pay.)

The Takeaway

So what can you as either a distributor or consumer take away from the above blatherings? Ultimately it’s all about harnessing the speed, accessibility and virality of the internet to bring home viewing content back where it belongs: on the T.V.

Now of course all of this is just my opinion and I’m sure 2009 will have plenty of surprises, especially from that Steve Jobs fellow and his damn Apple TV product he’s still figuring out. So a year from now if I’m wrong then feel free to gloat, but if I’m right then let me know what part of your forehead I can stamp ITYS.

In the meantime please comment away, would love to hear your thoughts as well.

(Photo: MC MECHANIC - HAND FIXING HAND - by Shane Willis)

Prolific movie blogger David Poland, for his DP/30 series at The Hot Blog, interviews our Chairman, Dennis Hopper, on his awards-touted performance in ELEGY, plus his thoughts on Sean Penn, Julian Schnabel, directing, acting, and more.