Takeaways from the Present Future Summit

The Present/Future Summit (March 11) brought together Asian Americans from all corners of media to confront the present and future of Asian Americans onscreen and online.  We had such a lively discussion afterwards, that we thought it would be fun to jot down some of our exchange as an informal Q&A with one another.

Check out these interviews with CAAM Fellows Johanna Lee (participating as a television writer) and Harry Yoon (participating as a featured film editor)!

RESPONSES FROM JOHANNA LEE (TV writer):

What did you take away from the conference?

I’d been aware of the new directions in online video for a while but I was wondering how people are monetizing it. One thing that I didn’t realize, was that people were making money through merchandising. Also, I was reminded how much these videos are driven by a “cult of personality” for their appeal. The summit prompted me to watch a lot of YouTube when I got home and I was again struck by what I saw. A lot of these YouTube stars were young men. They are good-looking, entertaining, Asian men and we’re not getting that on television. It makes sense that there’s a huge audience of Asian Americans watching these stars because they are finding faces they don’t see elsewhere. It’s not like there are a ton of people tuning into YouTube clips of 80 year-olds talking about politics.

Is there any way that this conference made you think about what you want to do with your career writing for television?

It made me come home and ask my animator husband about why we weren’t creating a web series! That said, Quan Phung talked about how in a longer format like an hour-long drama on television, you have more time to explore stories and character arcs, and that really appeals to me. At the end of the day, for me, it’s the content. I think there’s a lot of people tuning into some of the shorter content online because there are characters and subject matter that’s not being represented via traditional television. There may be stories that I want to tell that are perfect for shorter work online, and there are stories that are more suited for TV. So my desire to work in television hasn’t changed, but I could see myself also creating web series and shorter work in addition to what I am doing now.

(Our discussion led us to the topic of comedian Louis C.K.’s enormously successful self-funded release of his “Live at the Beacon Theater” concert video online.)

For me, the reason I bought the show was that I knew his work and loved it. He’s one of the only comedians out there that’s doing material on the down and dirty details of raising kids at his age and it’s hilarious. I also think that his price point was key. I thought for five bucks, that’s an easy decision. If it was twenty dollars, I wouldn’t have done it. Finally, I think Louis was successful because he’d already had two shows on major networks along with a long stand-up career. He didn’t just come out of nowhere.

   

Pictured: (Karin Chien, Quan Phung)  Photos by: Jain Thapa.

RESPONSES FROM HARRY YOON (feature film editor)

What did you take away from the conference?

As someone who works primarily in feature films, it was a little ominous to be reminded that the audience for features might be disappearing, and that next generation audiences are watching content in general, online. I mean, I stream movies from Netflix on my Roku box all the time but I think the discussion made me think about what was really different and compelling to audiences online. And if that work is the future then what is my place in it as editor?

Is there any way that this conference made you think about what you want to do with your career?

To make an independent film you have to go through all these gatekeepers – producers and funders who will help you make your film, and then once the film is made the distributors who will help you get your film seen by an audience. What’s really powerful about what these guys are doing online is that they have direct access to their audience. They don’t need to go through gatekeepers to reach them. And I think that’s why so much of their content feels intimate and personal. It makes it feel like the people making the videos could be your friends – people you could have a beer with. I mean, that’s what makes Facebook so compelling is that it’s not content created by a faceless news or entertainment organization but by your friends. I like that it has that intimate, personal feel.

I also liked the presentation given by Na’alehu Anthony on his Oiwi TV channel in Hawaii. The way he was creating on demand programs for a community that he felt close to, and using the set-top box as a way of getting very specific feedback on what his audiences were watching. This feels “intimate” in its own way. Again, it’s about removing the barriers between you as the filmmaker and your audience.

(Our discussion led us to the topic of comedian Louis C.K.’s enormously successful self-funded release of his “Live at the Beacon Theater” concert video online.)

I think it made a huge difference that Louis funded it, directed it, and edited it himself. I don’t know if I would have bought the video if it was being offered by some big media company. It made a difference to me that he had made it and uploaded it. I loved the letter he wrote about wanting to share his profits with his staff and with worthy charities really humanized the whole experience for people buying the video. It reminded you of the kind of guy you were giving money to. I hate to call that “branding” because it sounds so commercial but I think it’s branding in the best sense. I think Louis’example is a great model for filmmaker’s to shoot for. He’s established a personal brand with his audience and is reaping the rewards from it. I think the future of indie films is going to demand that from its makers.

Source: caamedia.org

The Present/Future Summit

Tomorrow! Sunday, March 11, 1:00p, the Hotel Kabuki, San Francisco! Free!

This summit will bring together Asian Americans from all corners of media to confront the present and future of Asian Americans onscreen and online. Digital technology has fundamentally changed mass viewing habits, as well as mass distribution and production methodologies. And for Asian Americans, these changes are nothing short of revolutionary. In the past five years, a tidal wave of viewers has emerged on YouTube, watching videos made by and starring Asian Americans. These days, the most recognizable Asian American faces may no longer come from Hollywood or network shows, yet the spotlight of “success” still remains on feature films and broadcast television. We have to ask ourselves: are we still looking in the right direction?

So how do we answer this question (or even figure out the right questions) while confronting the massive change in media and spurring innovation within it? The answer is—not on our own. We’ve invited a diverse set of thinkers representing media, technology, arts, business and community perspectives to speak about their view of the present, and to tell us their vision of the future. From YouTube to interactive technology, Hollywood to non-profits, audiences to distribution, this session will aim to make sense of the changing landscape—and opportunities—facing us.

Each speaker will be followed by an open Town Hall question-and-response session. This one-of-a-kind summit aims to generate dynamic, no-holds barred, provocative dialogues, and is a must for anyone invested in or just curious about what’s happening with Asian Americans in media and where we’re all headed. This conversation will not be televised, but it will be live-streamed. So come by in person or join online, ask your own questions and hear what those in the trenches have to say. It starts with your willingness to join the dialogue.

Confirmed participants include:

Nā’ālehu Anthony
Kenyatta Cheese
Gary Chou
Lee Ann Kim
Wendy Levy
Quan Phung, television producer
Ana Serrano
Celine Parrenas-Shimizu
Musa Syeed
Wong Fu Productions
Chi-hui Yang, independent curator and media professor
Shinae Yoon
Rana Cho

Official twitter hashtag: #pfsummit

Sakura Room in the Hotel Kabuki
1625 Post Street, San Francisco Japantown
Please RSVP to Davin Agatep at: dagatep@caamedia.org

garychou:

Last year, I helped my friends make a film called SURROGATE VALENTINE. It premiered at SXSW, had a wonderful festival run, and got picked up for VOD distribution by Warner Brothers. Along the way, we won a number of audience awards, and my friend Goh Nakamura, who plays the lead, even picked up a special jury prize for his acting at the Dallas International Film Festival, presented by none other than Peter Fonda.

We all had a great time working on the film together, so the director, Dave Boyle, and Goh decided to make a sequel. For me, as an investor, it was a bit like an unplanned pregnancy. (Or perhaps, a follow-on venture financing round.) Regardless, there were so many great things to come out of the first film that I couldn’t resist getting involved again. As an added bonus, our design partner Brian Kobashikawa, who designed the identity, the poster, and the products for SURROGATE VALENTINE, and who has been a long-time collaborator and friend of Goh’s joined me as an Executive Producer.

So we brought the band back together—virtually all of the crew, and many of the cast members, including Lynn Chen, and Joy Osmanski are back in the sequel, which is called DAYLIGHT SAVINGS. Producer Duane Andersen has a fantastic guest appearance in the film, too.

We also have some wonderful new additions: Ayako Fujitani, who starred in Michel Gondry’s contribution to TOKYO!, and Bay Area singer/songwriter Yea-Ming Chen play Goh’s various love interests; the amazing singer/songwriter/video-extraordinaire Jane Lui has a cameo has herself; and the excellent Michael Idemoto, as a Nakamura family member. Goh’s sister, Aya Nakamura, also made it into the film and does a wonderful job.

There’s a lot more to be said about the team, the process, and where we’re taking this, and if I can be as diligent about my writing as I am requiring of my students, I hope to share these ideas here.

But, for the time being, I will say this: DAYLIGHT SAVINGS is an amazing film. Dave has really outdone himself, and you can tell that he’s poured all of his heart and soul into making it. It’s an emotional film. I won’t say too much more about the premise or the plot, but if you’ve ever been stuck in that void in-between having loved someone and having fallen out of love, this film is for you. Yes, it’s some deep stuff.

We’re really honored that DAYLIGHT SAVINGS will be making its world premiere at SXSW 2012. We have four screenings this year, including one tonight at 5pm.

We’re also really honored to have our Bay Area premieres at the SFIAAFF. We screen on Sunday, 3/11, in San Francisco, and next week, 3/17, in San Jose. Unfortunately, our SF screening tomorrow is “rush only”, which means tickets are available, but you’ll need to line up to get them. If you’re in San Jose, buy your tickets early!

I hope you can come out and see what a wonderful film the team has made. We couldn’t be more excited to share it all with you.

Present Future speaker Gary Chou on his new film, DAYLIGHT SAVINGS.

Globalization is no longer a buzzword. That was the 90s. Now it’s just a fact of financing, consumption, and every facet of business. For example, over 70% of the American film industry’s grosses come from foreign markets. And in L.A. County, where Hollywood and the PGA are based, 56% of households speak a language other than English. It’s time to wake up to the new world order.

Producer and Present Future organizer Karin Chien in anopen letter she wrote to the Producers Guild, arguing for a broader, more global and more inclusive definition of American cinema.

Source: filmmakermagazine.com

Here’s a thought: if there was absolutely no chance your film would receive commercial distribution in the US, would you still make your film? What would it look like, and would you cast/write/shoot/edit differently? And if that freed you to take creative risks, would that be irresponsible filmmaking or would it be truly free filmmaking?

Producer and Present Future organizer Karin Chien, on what American independent filmmakers can learn from their Chinese counterparts.

Image courtesy of Karin Chien/dGenerate Films

Source: blogs.indiewire.com

18 Days In Egypt: How We Launched Our Web-Native Documentary

futureoffilm:

By Jigar Mehta

On January 25, 2012, the one-year anniversary of the start of the Egyptian revolution, we launched 18DaysinEgypt.com. No red carpet, no world premiere. It was a moment that we had spent many months building towards, but the site was not our final product. The launch was the beginning of our documentary about the revolution. Our audience is our collaborator.

18 Days in Egypt is an interactive documentary project that tells the story of the ongoing Egyptian uprising, using the personal media created by Egyptians in the crucible of the revolution. We want Egyptians to tell this story together, with their footage, their photos, their e-mails, their texts, even their Tweets and Facebook status updates, all created during the last year in Egypt, particularly but not limited to the first 18 days of the uprising, January 25 to February 11, 2011.

Read More

Very cool post by director Jigar Mehta on his efforts to create an interactive doc about the Egyptian revolution in real time.

Film formed our reality, it showed us what was possible and impossible. I grew up with a camera in hand, making cheesy action movies and ‘Star Wars’ rip offs, but now I saw the greater potential of what I always enjoyed doing. I could help create a fuller understanding of our world, through the stories that I had unique access to, stories that were yet untold.

Indiewire.com

Present Future speaker and director Musa Syeed on the power of film.

Source: indiewire.com