April 18, 2025
What to do?! That’s the question I’m asking myself every f-n day now that we live in upside down land. I am a White man of privilege in America – I don’t have to worry about being grabbed off the street by unidentified thugs, only to be deported to El Salvador, only to have my President gloat about it on TV with a dictator and boast about maybe deporting more citizens. Nor do I work within a company or organization that must keep its mouth shut for fear of bringing unwanted attention to itself for doing its job, promoting diversity once in their lifetime, or once showing a film about someone mentioning something off today’s political agenda. I haven’t lost a ¾ of a million dollar grant to make that movie, after I’ve been awarded the funds by an agency funded in advance by Congress (who are elected by we the people), either. My greatest fear is near-inconsequential – the few people who will unsubscribe… and I won’t notice that because I don’t even look at my subscriber count anymore – much less the news, these days. But man… shit is getting crazy in my world(s) and I bet that’s true of yours too. And I find myself asking what the f-ck can I do that makes one bit of a difference. Stick around, and I’ll tell you.
First up – doc film cuts and public media threats. As many readers might know, I am a founding member of the Future Film Coalition, which is a brand new nonprofit organization that serves as a research think tank and a coalition-builder for advocacy campaigns that will help secure the future of art house and independent media in the US. When we started this group we knew we’d have some battles, and threats, but as the name reflects, we also hope to build the future, not just save the past (or what we have). But the past couple of weeks have made a few things more urgent. As we explained in a news post yesterday, two weeks ago, the administration/DOGE gutted the entire National Endowment for the Humanities/NEH grant programs. Why does that matter to film, you might ask? Well, as the FFC noted: “Since last Wednesday, here’s what’s been terminated: funding to all 50 state humanities councils and 1,434 NEH grants supporting culture and humanities programs across the country, including the only federal grant program funding the development and production of feature-length documentaries.” NEH grants are also some of the best funding you can get for historical and humanities-based documentary work. For example, a friend of mine got a grant from the NEH for an incredible film you’ll see soon for $750,000, which was ¾ of their budget. Luckily, they got their funds in the bank before the cuts, but thousands of others didn’t get so lucky, and now those films might not see the light of a projector.
It's not just doc production that gets cut, however, as these grants also fund distribution and exhibition programs. I used to run a nonprofit that received millions in funding from the NEH every year to support distribution of independent films in public libraries. (We also got major funding from the IMLS, btw, which is also being cut and has greatly supported film programs in libraries, and whose cuts will impact things like smaller libraries being able to afford programs like Kanopy, but that’s an even longer article. ) Our NEH supported programs were not controversial. We would teach American history using excerpts from independent films (many from PBS, by the way). My favorite program we did during my tenure was called “Looking At: Jazz” which taught the history of America’s art-form using film and texts from leading scholars. We premiered it at the NYFF with a screening of D.A. Pennebaker’s “Daybreak Express,” with a live jazz accompaniment, as the film is set to the famous Duke Ellington score. The series went on to play in 43 public libraries to thousands of viewers, and the DVDs from each film are theoretically still in all their collections, and filmmakers were paid for their work. Super not controversial, unless pointing out that Black people made our primary US art form is controversial? Oh, I guess maybe so.
Next up, threats to CPB and PBS. As the FFC also reported yesterday, “On Monday, April 14, major media outlets reported that the Trump Administration is proposing that Congress rescind over $1 Billion in funding to the Corporation for Public Broadcasting (CPB), which funds public media in the United States, including PBS, NPR, and their local member stations. According to reports, the proposal would be part of a much larger rescission package totaling over $9 Billion in cuts, including other organizations such as USAID, and asking Congress to rescind funds which were already approved. The proposal is slated to go to Congress after the Easter recess on April 28, and then the House and Senate will have 45 days to approve the request or deny it. This is money that was already allocated by Congress, and according to reports, has already been delegated and spent. By all accounts, this would be devastating for all forms of public media, especially for smaller and rural communities.” Yeah… wow, just wow. I could add more here, but I think you get the point – it’s been a rough couple of weeks for the documentary community and/or anyone who loves these films.
But guess what? Don’t despair – the Future Film Coalition is joining with others who are not giving up and are fighting all of this stuff. Seriously, I’ve been ready to give up, but this group of people is keeping me active and ready to fight. On the NEH front, as the FFC says: “We are working with other nonprofits to identify as many affected parties as possible for legal action. Are you or your organization affected by the grant terminations? We want to hear from you, learn about the harmful impacts, and connect you to this collective action. You can write to us here.” Many, many others are leading this cause, but FFC can connect you into the network, and help you make a difference. Likewise, if you care about the cuts at CPB/PBS, what can you do? Well, as FFC also said: “time is of the essence. In the near term, please contact your Congressional representatives and let them know you support CPB and a robust public media system and urge them to vote against the proposed rescission package. A personalized, non-form letter approach is best, and you can use the APTS talking points below to begin (in the link here). You can find your representative here. In addition, you can send a message via Protect My Public Media, or sign this petition from Common Cause.”
Those are just two of the major things happening to films, but there’s more. As you’ll read In Gabriel’s report below, films are fleeing California and people are losing jobs. We need better tax incentives in CA, but also in other states. And too often, indie voices are not part of the conversation. But the FFC is working on that with others, too. Or what about antitrust efforts, and how this might help indies? Or what about how tariffs are going to impact film? All of these things are part of the future remit of the Future Film Coalition. But we can’t do it alone. This is an all-volunteer effort, and we need your help. If you’re interested in getting off your butt, getting active and doing something more than writing a newsletter bemoaning all things wrong in the world (ahem…), the FFC might be a place for you to get involved. Or just sign up for the newsletters to make all of us feel better, and to stay informed. All of that helps. You can find out more and sign up here.
But maybe you aren’t interested in joining a coalition or fighting for public media. Fair enough. What can you do as a filmmaker in these crazy times? I was wondering the same, when the Showbizing Strategies Newsletter (written by my friends Julie Crosby and Jane Applegate) hit my inbox with some good ideas. As Julie Crosby writes there, we need to remember that things are always crazy. As she says: “this industry has always been chaotic. The world has never stopped spinning. And we’ve always found ways to tell stories. The key is learning to keep moving no matter how noisy it gets.” And she gives three great strategies for moving forward as a creative in these times:
- Don’t wait for greenlights – make your own opportunities
- Protect your circle – ignore the noise makers, and follow the people getting stuff done, and
- Own Your Next Move – As Julie says: “momentum doesn’t come from permission. It comes from movement. What’s one action you can take today that will move your career or creative project forward? Do that. Then do it again tomorrow.”
Amen to that. As I’ve said in multiple other newsletter posts – we need a new map, as the old ones don’t work anymore. We have to build for the future we want. Whether you do that on your own, in a small trusted circle of supporters, or with a broader coalition, the only path is forward.
|
|
Film
End Platform Confusion: Meet the CEOs Behind Direct Distribution: Traditional film distribution is broken - the detritus is all around us. Filmmakers are grappling with distributing their films themselves. New distribution platforms are popping up on a weekly basis. But which one is right for you? Sign up for a first of its kind webinar bringing together the CEOs of the top four direct distribution platforms — Kinema, Jolt, Gathr and Eventive — to discuss how each of their platforms were built to meet filmmakers' ever-evolving distribution needs. On April 24th 2-3:30pm ET, host and moderator Jon Reiss will focus on how each of these platforms are different and why you should potentially choose one over another. In addition, the guests will show real numbers of their more successful releases as well as more modest releases. Most importantly — what can filmmakers do to make their films more successful on these platforms. (GSH)
Doug Shapiro at Futureweek: Disruptions in Media: Earlier this month, Doug Shapiro gave a presentation at the Futureweek Forum in London where he discussed (1) the disruption of content distribution over the last 15-20 years and how it’s shaped the current media business; (2) the disruption of content creation over the next decade; (3) the four trends that dominate the media business today: Stagnation of time spent, Fragmentation of attention, Disintermediation as tech makes it easier for creatives and creators to reach consumers directly, and Concentration of power on a select number of platforms; (4) He finishes by trying to answer the question “What will be the new moats as content moves toward infinite?” You can give his 25 minute talk a listen here. (GSH)
 A New Old School Video Store Launched In Williamsburg Brooklyn: Jess Mills and Aaron Hamel are the owners of the freshly opened Night Owl Video. Give their interview with WNYC’s All Things Considered a listen to learn why they think physical media is so important and how they’re pulling off bringing this beloved retro business model back to New York City… and make sure to drop by and browse their collection! (GSH)
Will Shorts Become Streamers’ Secret Weapon: Quickplay CEO Paul Pastor makes the case that we’re going to see massive investment in short-form content by content and streaming companies in 2025. With nearly 71% of Gen Z consumers discovering content through social platforms, “long gone are the days of channel flipping…. shorts is the new EPG (Electronic Programming Guide, or TV Guide),” Pastor writes. “Imagine Disney+ knowing I enjoy watching shorts with magic tricks and targeting David Blaine’s “Do Not Attempt” through promotional messages to retain me for another month.” He concludes, “as media companies compete with large-scale social platforms, they must learn how to creatively participate in the creator economy or risk extinction.” Check out his Hollywood Reporter article here. (GSH)
CA Organizers Must Strategize To Prevent Hollywood From Becoming “The Next Detroit Auto”: All parts of the Hollywood entertainment production pipeline — shooting, scoring, and post-production — are currently in crisis. FilmLA released its latest data showing that shoot days in the first quarter of 2025 had declined 22% compared with the same period in 2024. According to Peter Rotter and Jasper Randall at Encompass Music Partners, music scoring work costs over 60% less in Vienna and 90% less in Bratislava, Slovakia, and that many companies including their own (Encompass Music Partners) are collapsing. And Karen Baker Landers points out that “Even if movies shot somewhere else, they always came back to California to post; [which] has not been the case anymore for some time…. Visual effects, sound, picture, music, have been migrating out of California, chasing… tax incentives. This has cost the state thousands of jobs…” She concludes, “I do believe that the world is watching what California does with these [tax] incentives…. They know that if we get it right, it’s game on again for California.” Find lots more detail about tax incentives and other factors drawing talent out of Hollywood, out of state, or overseas in Borys Kit and Katie Kilkenny’s piece for The Hollywood Reporter. (GSH) Note, you can also get informed about this topic at the Future Film Coalition site, as well, and we're making sure indies are part of these conversations. (BN)
|
|
Branded Content
Filmmakers, Brands, and Hollywood Grow Closer: Give Brian Welk’s IndieWire article a read for positive takes on the state of Branded film. He makes the case that while Hollywood and the corporate marketing world have long been disconnected, that’s changing, and that successful, high-quality branded projects like Yves Saint Laurent collaboration with Pedro Almódovar (or their Oscar nominated Emilia Perez) are becoming more frequent. Throughout the piece, Welk cites our own Brian Newman who explains that “brands have always wanted to be involved early in the creative process, but it’s only because of projects like “Barbie” that others are increasingly getting involved on bigger-budgeted, bigger-risk Hollywood-style development.” And for those struggling to see why brands might want to help finance a film with little-to-no explicit branding, Brian explains that those partnerships boost awareness of the brand and it even helps with employee retention. Brian also points out that “Smart brands are thinking a step ahead of the other ones…. REI knows if they don’t get people outdoors and off their butts, they’re not going to have customers in 10 years. Being associated in your customers’ mind with certain values and aesthetics, it will feel better shopping for it if you know they’ve done these things.” Takeaway: We’re moving into a new creative economy — filmmakers want to work with brands and vice-verse, and Hollywood is looking more open to exploring new relationships. More detail in-article. (GSH)
|
|
|
Miscellany:
AI Music Is Booming: Almost 20% of all new music uploaded to streaming platform Deezer is AI-generated — Deezer receives over 20,000 new AI-generated songs every day, double what the company was getting just three months ago. The issue, of course, is that much of this music has been trained on copyrighted material. Despite Deezer being the only platform to have signed the global statement on AI training that says that “the unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted,” AI detection software isn’t yet sophisticated enough to stop all the AI music from being uploaded, especially as much of the music is co-created by humans. Surprisingly, according to a Market.us report, 60% of musicians embrace AI for music creation and production. If that’s true, then the people making the AI-generated music might be the same people platforms like Deezer are trying to protect from AI-generated music. According to Market.us, the global AI in music market will be worth about $39 billion by 2033. John Koetsier for Forbes has the news. (GSH)
GSH = Articles written by Sub-Genre's Gabriel Schillinger-Hyman, not Brian Newman (BN)
|
|
|
Like This Newsletter? Subscribe & Past Issues
|
|
|
|
|
|
|
