The festival lineup of films was unveiled earlier this week, so it’s officially time to start anticipating. Here’s the info from the official festival site. indieWIRE has a nice overview of what’s scheduled, too, and here are some notes from GreenCine Daily.

One of the movies in the lineup is Kurt Cobain About a Son, which some of us saw at Denver. It’s a great film, and director A.J. Schnack is a great guy. We were lucky to catch him and Michael Azerrad for a chat about his film and also did a roundtable from Ted’s Montana Grill in Denver where we talk about the film. If you’re heading to SXSW, make sure to catch it.

We’ll dive into the lineup and say more about it here as we get closer to the festival. In the meantime, we’re busy preparing to do the festival’s Spout-sponsored email/webcenter, and dozens of podcast interviews. Rick will also be on a panel “New Dogs, New Tricks: New Media Goes to the Movies,” which is just a great example of what a good fit this festival is for us–the perfect mix of movies and interactive media. Stay tuned for more in the coming weeks.

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Starz Denver Film Festival, Spout podcast, When I Came Home, Dan Lohaus

Video:

Starz Denver Film Festival, Spout podcast, Roundtable Recap, Thursday November 9, 2006, Bill, Dave, Kevin, Aaron

Starz Denver Film Festival, Spout podcast, Ron Henderson

As festival sponsors and the official festival podcasters, Spout will be there in full form. There will be plenty of reviews, conversations, and interviews for you to listen in on. It’s a good way to get more out of the festival if you’re there, and to live vicariously through us if you’re not. Check out spout.com/denver for the latest and greatest as well as the Spout Denver Film Festival group. The festival schedule is also up, so check it out and let us know who you think we should talk with.

On his website, Kevin nicely sums up what I love about docs:

“The very best of these non-fiction films are as entertaining as the best of Hollywood blockbusters. In contrast to the fiction that most movies are, true films offer authentic plot twists, real characters, and truth stranger than fiction. They aim to both entertain and to inform–a powerful combo.”

I think this book will be a great tool to change the minds of people who aren’t quite sold on the idea of enjoying documentaries. And for those who have long loved docs, apparently there’s already been a film club launched around the 100 films reviewed in the book. I’m not sure who organized it, or where, but it sounds like a good idea for Spout doc fans.

I’ll be back with more after I have a chance to look at the book.

I really wish I could make it to Toronto, but unfortunately I can’t be everywhere at once. As a Telluride sponsor, Spout’s attentions are pretty much focused West for the next few weeks. If you want to keep up with what’s going on in Toronto, check in with our friends over at indieWIRE. (For all Telluride information, pre-, during and post-festival, Spout’s the place.)

Last week, for our first Film Friday, we watched Doug Block’s documentary, 51 Birch Street, which Paul recently wrote a post about. The film is full of good stuff to talk about and keep mulling over. It’s the kind of film that sticks with you. Here’s a conversation between Paul, Dave and Bill. We’d love to hear from anyone else who has seen the film. –Kristin

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As Paul pointed out in his last post, there is an advantage to getting on the YouTube train. But it’s not all good. It seems to me the greatest advantage of the service–that anyone can post a video–is also the greatest disadvantage. If you are a filmmaker trying to get your work noticed, how is it possible to let your stuff shine through such a dense forest?

Even though some local filmmakers here in GR are finding it an effective channel, for me, YouTube is still not the best place to find a gem of a short film. But who knows what the future will hold. What do you think?

Here’s Empire Magazine’s 50 Greatest Independent Films List.

I want to know which of these independent films you think should have hit the Top 5. Personally, I don’t know why Clerks made the Top 5. And who knew Nosferatu was an indy? Is it just me or is that a picture of Mario (not Melvin) Van Peebles for Sweet Sweetback Baadassss’ Song? And where’s Easy Rider?

It seems there’s a common denominator with these groups: the people who start them want to promote love of film (or movies or cinema or whatever you want to call it). So for those of you out there “in the trenches,” I’m really curious to know what you may need to create and keep these gatherings thriving?

That’s the good thing about film - it’s really just a big pirate ship,
and it’s like saying, ‘How do you become a good pirate?’ Well, any
f***ing way that you want. Just find your way to do it. I would put a
huge vote in for doing it yourself and not believing things made at
home and made for cheap or things made on video and without movie stars
aren’t worth doing. That’s a total contradiction, coming from someone
who has a film with Keanu Reeves in it, you know. But that’
s what I believe.  - Mike Mills

I post this quote for all of those people out there that once preached to me that I need to move to LA if I’m going to have a career in film. Here’s hoping this will inspire many more filmmakers to stay on the path of Do-It-Yourself filmmaking.

Dave

“But the real reason is that New York’s the home base for the burgeoning, always-hungry celeb-photo press, guaranteeing coverage…The joke is that I don’t think you have to show the movie. If you say “red carpet”, they’ll come, they’ll take the pictures, they’ll ask the same questions, and they’ll go home”

This reminds me of a great article I read in The Times a couple of weeks ago about the recent decline in the box office. In the article, Mr. Lynton of Sony said he would be focused on making, “only movies we hope will be really good.” Mr. Shmuger, of Universal, said the he intends to reassert “time and passion” in movie production. He goes on to say that some of his own summer movies should have never been made.

It is evident to me that Hollywood is willing to blow off their audience if it does not effect their bottom-line. But now, audiences are no longer taking Hollywood’s crap and are forcing them to actually think about making quality films. They are no longer fulfilled by the empty experiences of the multiplex. As audiences are turning away from the multiplex, what will we do now for our film watching experience?

Dave

There are some very interesting insights on the next 75 years of Hollywood here. My problem with these insights is they all come from the inside. Seems to me that Hollywood has gotten itself into a funk and cannot seem to get out of it. Studios are so worried about their bottom line they cannot see beyond it. Audiences are getting smarter but Studios are not responding. 

At least there are other ways to spark a revolution. Like technology, for instance. I agree with Robert Dowling, editor-in-chief and publisher of The Hollywood Reporter, that in the future there will be great change in all areas of film and we will see a takeover of the Digital Revolution.  It seems to me that this will totally change the dynamics of the Hollywood system. There will be a shift in power toward the consumer and there will be a more intimate relationship between people and the films they are watching.  I also believe filmmakers will be able to connect to niche audiences in a much more effective and rewarding way.  Down the road, in the not-too-distant future, I’m expecting to see the gap bridged between the film festival and the multiplex, giving filmmakers an alternative choice.

So my question to you, the film lover, is this: Where do you see Hollywood heading in the next 75 years?  And to all you filmmakers out there, what opportunities do you see in the future?  What are your dreams for the industry?

What do you think?

Dave