Split (1)

train · 2.09M rows

identifier stringlengths 1 43	dataset stringclasses 3 values	question stringclasses 4 values	rank int64 0 99	url stringlengths 14 1.88k	language stringclasses 1 value	title stringlengths 0 200	top_image stringlengths 0 125k	meta_img stringlengths 0 125k	images listlengths 0 18.2k	movies listlengths 0 484	keywords listlengths 0 0	meta_keywords listlengths 1 48.5k	tags null	authors listlengths 0 10	publish_date stringlengths 19 32 ⌀	meta_description stringlengths 0 258k	meta_lang stringclasses 68 values	meta_favicon stringlengths 0 20.2k	meta_site_name stringlengths 0 641	canonical_link stringlengths 9 1.88k ⌀	text stringlengths 0 100k
4383	dbpedia	2	45	https://www.theguerrillarep.com/blog/tag/Film%2BMarkets	en	Film Markets — Film Business Blog — Guerrilla Rep Media	http://static1.squarespace.com/static/641c70c6404e8240d813222f/t/64b8275fd53e9e04a54b9c8d/1689790310875/Film+Business+Blog.jpg?format=1500w	http://static1.squarespace.com/static/641c70c6404e8240d813222f/t/64b8275fd53e9e04a54b9c8d/1689790310875/Film+Business+Blog.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1694533796632-2G0DYCNN9FGJPY034TV0/The+Issues+preventing+the+emergence+of+Regional+Film+Commun.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1687455035608-ROYYFLWDVXMT15KEIATP/can-indie-filmmakers-survive-the-subscription-streaming-wars_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685540190410-AGMA7DEH6ELWA8A57926/what-to-expect-from-afm-2019_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/f9d1f6d0-3dd0-47a8-9450-00fcb11c0db1/afm-buyer-numbes-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685539509244-D186DNVDMHH0ODK55M3K/6-things-to-prep-for-afm-2019_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685035519117-EOLMWIW2CTYYZTFEK3N9/one-huge-don-t-when-dealing-with-film-distributors_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685033266305-1B93EMI988WMA80W3T3Q/why-you-need-to-help-your-distributor-market-you-r-movie_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1684952971211-N6RBL2YYTWH4XTCN7442/How+did+Film+Distribution+get+so+broken.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1684952153890-VIBBDGGJ8CQO9WVMXD7M/The+IndieFilm+Payments+Problem.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682876533209-SHF54WCD2W6SY66I488N/7-things-to-prepare-before-a-festival_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682875380597-5912CWVEESG0J3IV5408/how-to-get-your-movie-on-netflix-blog_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682872512574-SPS10QQQJBQBAQSFFCDM/printed-materials_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682802326885-YUEE1M7A49NUYXXQ0CV3/when-to-contacts-a-rep-sales-agent_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682801371403-NAGJ0R5FONZQV473GWGT/5-takeaways-from-afm-2018-001_1_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682774554063-S4HKCE1B53LFWP5V9GLT/bp-series-marketing_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682706552546-OG5X9B2863XF9BD06UXO/the-4-stages-of-indiefilm-investment_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682705758090-SPKRVMZMYGTB39FKVYO3/6-questions-to-ask-yourself-before-self-distribution-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682696096729-IP0NGR35ZHONUUX8XHX3/9-things-i-learned-from-my-first-theatrical_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680882557919-1SETJXPPPBNJ5GK7ZF6I/entreprenuer-exclusive-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680879714579-BZZNTULMGUGC9V2HVBJH/may-images-005_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680878106033-GCK000TZIEXPNW85Z9PZ/march-18-facebook-images-003_1_orig.jpeg" ]	[ "https://www.youtube.com/embed/Ov2K0uDEDGE?si=h3Hz7vuT-CYPML3B" ]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/b01f6638-445a-47b7-a5b2-90fd18c71b66/favicon.ico?format=100w	Guerrilla Rep Media	https://www.theguerrillarep.com/blog/tag/Film+Markets	General Business Ben Yennie General Business Ben Yennie The 5 Pervasive Issues Preventing the Emergence of New US Film Hubs If you want to succeed as an indie filmmaker, you need to have a network and a community. Trouble is the only major film communities in the US are New York, LA, and Atlanta. What’s stopping us from fixing that? This blog identifies problems we need to solve to expand beyond the coasts. If you’re a filmmaker, you probably already know a lot of other filmmakers in your area. If you don’t, you should. That’s one reason why film community events are absolutely vital for the independent film industry. It’s far from the only reason that communities of independent filmmakers are vital for your success as an independent filmmaker. I’ve been involved with a few film community organizations ranging from Producer Foundry to Global Film Ventures, and even the Institute for International Film Finance. I’ve also spoken at organizations across the country. From the experience of running more than 150 events and speaking for a few dozen others, I’ve noticed some commonalities across many burgeoning independent film communities, so I thought I would share some of my observations as to why most of them aren’t growing as quickly as they should. Without further ado, here are the 5 pervasive problems preventing the growth of regional film communities. Lack of Resources It’s no secret that most independent films could use more money. It’s true for film communities and hubs as well. In general, most of these community organizations have little to no money unless they’re tied to a larger film society or film festival. Unfortunately being tied to such an organization often prevents the work of community building due to the time and resources involved in the day-to-day operations of running a film society or the massive commitment that comes with running a film festival. Compounding the issues with a lack of resources is that a community organization built to empower a regional film community isn’t something that you could raise equity financing from investors. Projects like this are much better funded using pages from the non-profit playbook. There are organizations looking to write grants specifically for film organizations seeking to empower communities. You can find out more about the grant writing process in this blog below. RELATED: Filmmakers! 5 Tips for Successful Grantwriting. While local film commissions do provide some support to locals, their primary mandate is generally built for a different purpose that I’ll discuss in the next of my 5 points. Most tax incentives emphasize attracting Large Scale Productions, not building local hubs Most film tax incentives are heavily or sometimes even entirely oriented on attracting outside productions as a means to bring more revenue to the city, state, region, or territory. This is understandable, as many film commissions or offices are organized under the tourism bureau or occasionally the Chamber of Commerce. Both of those organizations have a primary focus on attracting big spenders to the local area in order to boost the economy. RELATED: The Basics of Film Tax Incentives This mandate isn’t necessarily antithetical to the goal of building local film communities. There is nearly always a local staffing requirement for these incentives, and you can’t build an industrial community if no one has work. Some of the best incentives I’ve seen have a certain portion of their spending that is required to go to community growth, as San Francisco’s City Film Commission had when I last checked. Given that the focus of the film industry is focused on attracting outside production, there is often a vacuum left when it comes to building the local community and infrastructure as a long-term project. Additionally, given that film productions are highly mobile by their very nature using tax incentives to consistently attract large-scale projects is almost always a race to the bottom very quickly. If a production can simply say to Colorado that they’ll get a better deal in New Jersey, then the incentive in Colorado fails its primary purpose. Eventually, these states or regions will continue a race to the bottom that fails to bring any meaningful economic benefit to the citizens of the state. While the studies I’ve seen on this often seem reductive and significantly undervalue the soft benefits of film production on the image and economy of a state, the end result is clear. If all states over-compete, eventually the legislatures will repeal the tax incentives. After that, outside productions will dry up. When this happens, local filmmakers are left out in the cold. The big productions that put food on the table are gone, and there’s no meaningful local infrastructure left to fill the void that the large studio productions left. Creating a film community is a long-term project with Short Term Funding. It takes decades of consistent building to create a new film production hub. People often have the misconception that Georgia popped up overnight, and this isn’t true. While the tax incentive grew the industry relatively quickly on a governmental timescale, I believe the tax incentive was in place for nearly a decade ahead of the release. Georgia’s growth was greatly aided by local Filmmaker Tyler Perry’s continual championing of the region as a film hub. Most of the funding apparatuses available for the growth of film communities are primarily oriented toward short-term gains. That makes long-term growth a difficult process, but if cities and regions outside of NY, LA, and ATL are to grow it needs to be a part of the conversation. There are some organizations out there pushing to build long-term viable film communities outside of those major hubs. Notably, the Albuquerque Film and Music Experience has a great lineup of speakers for their event in a few weeks. I’m one of those speakers, so if you’re in the area check it out, and check out this podcast I did with them yesterday. It’s hard to bring community leaders together As I said eat the top, I’ve been involved with and even run several community organizations. One consistent theme I’ve noticed is that most community leaders are very reticent to work with each other in a way that doesn’t benefit them more than anyone else. This means that one issue I’ve seen consistently is that while there are disparate factions of the larger film community throughout most regions it’s nearly impossible to bring them together to build something big enough to truly build a long-term community. Most filmmakers and film community leaders are much happier being the king of their own small hill than a lord in a larger kingdom. Filmmaking is a creative pursuit, and it requires some degree of narcissism to truly excel. This is amplified when you run a local film community. Sayer’s Law states: “Academic politics is the most vicious and bitter form of politics because the stakes are so low.” If you replace the word “Academic” with “Filmmaking” can be said for the issue facing most film communities. Call it Yennie’s Law, if you like. #Sarcasm, #Kinda. I discussed this in some detail with Lorraine Montez and Carey Rose O'Connell of the New Mexico Film Incubator in episode 2 of the Movie Moolah podcast, linked below. The industry connections for large-scale finance and distribution generally aren’t local. If you’ve read Thomas Lennon and Robert Ben Garant’s book Writing Movies for Fun and Profit you’ll already know that LA is the hub of the industry, and if you want to pitch you need to be there. Given the fact I live in Philadelphia, I believe it should be fairly clear I disagree with the particulars of the notion the overall sentiment remains true. Also, if you haven’t read it click that link and get it. It’s a great read. (Affiliate link, I get a few pennies if you buy. Recommendation stands regardless of how you get it.) If you want to make a film bigger than at most a few million dollars, you’re going to need connections to financiers and distributors with large bank accounts. You can find the distributors at film markets, but all of the institutional film industry money is in LA. While you may be able to raise a few million from local investors, it’s really hard and it is an issue facing the growth of independent film communities nationwide. Another issue is around the knowledge of the film business and the logistics of keeping a community engaged and organized. While I can’t help too much with the latter, I can help you and your community organizers on the knowledge of the film industry with my FREE film business resource Pack! It’s got a free e-book, free macroeconomic white paper, free deck template, free festival brochure template, contact tracking template, and a while lot more. Just that is more than a 100$ value, plus you also get monthly content digests segmented by topic so you can keep growing your film industry knowledge on a viable schedule. Click the button below! As I said earlier, I’m speaking at AFMX this year. If you like this content and you’d like to have me speak to your organization, use the button below to send me an email. Check the tags below for more related content! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie Can Independant Filmmakers Survive the Streaming Wars? Everyone talks about the streaming wars, and even though the dust is already settling, we should make sure to examine the lasting effects of the subscription streaming wars. It’s no longer a controversial statement that streaming has changed the whole game for independent film distribution. It hasn’t been controversial for quite a while. However, it is becoming apparent that not only has streaming changed the game, it might as well have become the game, at least here in the US. That’s not really a good thing for Indies. Here’s why. Streaming has made such a vast library of content available people don’t need to buy movies. The biggest reason that Subscription Video On Demand streaming has engulfed the entire media landscape is that it’s put a giant library of films at the fingertips of anyone for only around 6-15 bucks a month for most platforms. It’s putting entire on-demand catalogs that are even more convenient than owning a film on DVD. It wasn’t so big a threat when there were only a few companies in the space, but once HBO blew the doors open with the launch of HBO NOW the writing was on the wall for those of us paying attention. We all knew that Disney and Warner would follow. With Disney+ putting a gigantic pile of legacy content on their platform, it’s going to get harder and harder for independent films to compete. Physical Media used to be the primary way people could watch films when they felt like it. It used to be that licensing a film to A TV station was pretty lucrative, and didn’t really affect your physical media sales. In fact, it often increased them. People didn’t want to have to wait around for your film to screen if they liked it, so they bought the disk. Yet SVOD companies license a film, and for the term of the license their subscribers can just watch the film wherever, whenever they want. This level of convenience has made it significantly more difficult for filmmakers and distributors to sell content for a transactional fee which has a much higher margin per unit sold. When Netflix started the game, it was still just one platform, and many people didn’t have the level of internet needed to stream without a significant amount of lag. This result often ends up that filmmakers and distributors are left with whatever the license fee for each film is, and will see little to no revenue beyond those licenses. It basically means that not only is streaming taking up a much bigger part of a given film’s revenue mix, it’s also shrinking the pie. With so many platforms and so much content, there must be lots of licenses and acquisitions being made though, right? It depends on how you’re looking at it. Sure, these platforms are creating massive amounts of content, and acquiring still more. However, the price they tend to pay for acquisition is lower than you’d think, and some of the terms tend to be a bit unreasonable. For originals, it’s a long road requiring a strong package that 95% of filmmakers will never reach. You might think that many new platforms are going to be looking to make even more original content in order to make sure subscribers keep paying for their content. There’s some truth to that, but the problem is that there are so few outlets likely to survive the streaming wars that the system of gatekeepers that the streamers were supposed to break may become even fewer than they were before. The big problem here is that there are A LOT of these same sorts of platforms seeking the attention of an oversaturated audience and market. The impact is that there’s a lot less money to go around for indies, and much of the consumer base is just subscribing to a few services, and not buying a lot outside of that. So unless a filmmaker has a strong engaged audience, they’re not going to be able to compete. Essentially, the SVOD wars intensify the problem creators have been facing for several years, and that’s the fact that while anyone can get their film out there, getting anyone to see it is an entirely different matter. It all comes back to audience engagement. This comes back to one thing. Build and engage with your audience, and create content that speaks to them on a deep level. It needs to evoke an emotion or speak to an experience that no one else can. In order to succeed, we Indies need to defragment our market and find our tiny place in it. We don’t need to be 8 people’s 6/10, we need to be 2 people’s 10/10. Thanks for reading. This one was more of a think piece than my general practical advice. Let me know what you thought about it in the comments. If you like this and want more, please consider joining my mailing list, you’ll also get a great film business resource pack that includes templates, a free ebook, a whitepaper, and more! Get more related content via the tags below! Read More Distribution Ben Yennie Distribution Ben Yennie 5 Things to expect from the 2019 American Film Market #AFM2019 Film markets were changing even before COVID. Here’s an analysis from 2019. AFM this year will be interesting. Here’s the current state from someone who’s been going for 10 years, and has been a Practicing Producer’s rep for 6 years. Two quick things before we get started. First, You should definitely go to AFM at least once. It’s eye-opening, and if I hadn’t done it I probably wouldn’t have a career. Second: These opinions are mine alone, and have not been approved, endorsed, or otherwise condoned by the International Film and Television Alliance (IFTA) owner of the American Film Market. (AFM is also a Registered Trademark of the IFTA.) And with that, we’re on to the less optimistic (or legal) parts of the current state of AFM and Film Markets. Film Markets could be in trouble. All Film markets might be in trouble. I’ve spoken with many buyers, and they’re pretty much ready to pack up shop. There’s nowhere near as much money in it as there used to be, and it’s difficult to contuse to turn a profit in this changing landscape. They’re not going away in the next year or so, but they are likely to recede over time. AFM is Becoming much more filmmaker focused in their marketing, which means less involvement from Buyers and Sales agents. AFM Themselves have been shifting focus to their filmmaker services and somewhat away from their buyer and exhibitor services. That's not necessarily a bad thing in general. It's what I tend to do with content like this, but I go for a very different customer set than AFM has historically. Buyer numbers have been on the decline for a few years, and if they continue to decline it will be difficult to attract the higher-priced exhibitors, and the culture of AFM and all markets is likely to change. The Image below should help illustrate my point. The current system is prone to collapse in a down economy 2008 was Terrible for AFM. I’ve been expecting a recession to happen at any point since around this time last year. While the time that I was expecting it to happen seems to have passed, I’m still convinced of an impending recession, but willing to admit I might have missed the timing and the immediacy. In any case, when the recession happened in 2008, the market dried up and it still hasn’t fully recovered. If we were to see another recession, it might spell the nail in the coffin for AFM and potentially the entire market scene. What would replace it has yet to be seen, as after Distribber’s recent collapse it will be very interesting to see how filmmakers can get their films out there. Buyers have been on the decline for a few years. I mentioned this above, but total buyer attendance have been on the decline for the past 2 years. It’s difficult to tell whether the size and number of deals have been increased, but given that the number of tickets sold on the top 100 box office films have remained largely stationary despite the box office revenue going up as well as a few other metrics and the general sentiment of my contacts on the sales agency side I’d be inclined to doubt it. Again, if buyers dry up, sales agents won’t keep coming. When I’ve talked to sales agents about this over drinks, there’s a feeling of extreme pessimism bordering on depression about the current state. AVOD and SVOD buyers likely to be the biggest players this year. Given that many believe there’s a looking recession, SVOD and AVOD players are going to be even more sought after than they already are. AVOD is free for all, and SVOD doesn’t require extra payment on the consumer end. Given that the economy is a house of cards, many people who are struggling financially are more likely to cut services and stop buying individual rentals. They might even cancel subscriptions, which is likely to lead to a greater viewership of TubiTv, PlutoTV and other similar services. Thanks so much for reading. If you want more on AFM, Check out Last Week’s blog, my first appearance on IndieFilm Hustle, or my book. Also, if this all seems a little dauting, consider submitting your film via the link below. Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 6 Things for Filmmakers to Prepare for the 2019 American Film Market #AFM2019 If you want to get the most out of the American Film Marktet, you need to prepare. Here’s what you need. With AFM 2019 right around the corner, it’s time for filmmakers to prepare for the market and do their best to get a traditional distribution deal. For those of you who don’t know, AFM is still the best place for American Filmmakers to get traditional, non-DIY distribution. So, with that in mind, here are the major things you need to prepare. Also, For legal reasons, I need to say that the following: The American Film Market® AFM® are registered trademarks of the International Film and Television Alliance® (IFTA®) Any and all Opinions expressed in this video are Not Endorsed by the International Film and Television Alliance® or leadership at the American Film Market. Just in case you'd rather watch than listen, Here's a Youtube Video on this topic! Leads Lists You need to know what sales agents and distributors you want to submit your film to. This starts with research and leads lists. You need to figure out which sales agents tend to work in your genre and budget level, what similar films they’ve helped sell recently, what their current market lineup is, whether they require recognizable names, and who the name of their acquisitions lead and CEO are. To make your job easier, I put a free template in my resources packet which you can get by signing up below. Join my mailing list and get the FREE AFM Advance contact tracking template. Trailers You need to get their attention, and a trailer is a great way to do it. I’ve gotten limited theatrical agreements based on an excellent trailer. See that trailer here. If you don’t have a trailer, you can submit without it. However, it will be much less likely to achieve the desired results. Pitches There are elements of an indie film pitch. I tackle the topic in extreme detail in my book, but here’s an overview of what needs to go into that 10-30 second pitch. Title of Film Stage of development Any attachments Genre Sub-Genre/Audience Budget Range Check out my book on Amazon for the full chapter Related: What investors need to know about your movie Key Art You’ll need a poster, even if it’s a temp poster that’s eye catching and will convince the sales agent they can move units. It can be a temp poster, but it needs to invoke the spirit of the film and imbue a sense of intrigue for anyone who looks at it. Promotional materials Once you’ve got the key art, you can use it to create promotional materials. One of those would be a quarter page flyer, another may be a tri-fold brochure. I’ve included a pages and word document for use at festivals in the resources packet, but it could be modified for AFM. If I get a few people tweeting at me or commenting the want it on my youtube videos that they’d like that, I might make it. Screening links If your film is done, you need screeners. The distributors will need to see it, and they’ll probably want a Vimeo screener. Youtube unlisted or private won’t due, as the compression on Youtube makes it difficult to see all the technical issues with the film. If you can get it out in advance of the market, all the better. It normally takes a few markets to start seeing money from your film if you don’t get a minimum guarantee. Getting that started would be in the best interest of all involved. Thanks so much for reading. If you liked this and want more, come back next week for what you should expect from AFM 2019, as well as where the market seems to be heading. OR, if you can’t wait, you could listen to me on Indie Film Hustle Talking about AFM. You could also check out my book! It’s the first book on Film Markets, used as a supplemental text in at least 10 film schools, and is still the highest selling book on film markets. Check it out on Amazon Prime, Kindle, Audiobook on Audible, Online at Barnes and Nobles, Your Local Library, and anywhere books are sold. Also, join my email list to get a great indiefilm resource package totally free! Check the tags below for related content Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie One HUGE Don't When Dealing with Film Distributors There are many things you SHOULD do when selling your film with your distributor. There’s one BIG thing you should NEVER do. As with nearly anything in life, there are dos and don’ts when you; ’re dealing with your independent film distributor. Also as with most things in life, there is (at least) one thing you can do that will irreparably harm your relationship with that distributor and might even result in legal action taken against you. What is it? Read on to find out. DON’T GO AROUND YOUR DISTRIBUTOR OR SALES AGENT TO SELL YOUR FILM Once you sign with a producer’s rep, sales agent, or Distributor for your project, they have the right to negotiate on your behalf. Many buyers won’t deal with filmmakers directly, so the point of contact will either be your producer’s rep or Sales agent. While most buyers will appreciate the filmmakers helping to push the film, they will not be so grateful for reaching out to the buyer directly about reports, or any other form of unapproved contact. This isn’t to say that you shouldn’t help promote your film in ways that it makes sense to do so. See the blogs below for reasons why. Related: WHY you should help your distributor MARKET your MOVIE Related: HOW to Best COLLABORATE your Distributor MARKET your Movie The biggest takeaway for how to market your movie that you can take from the blog above is to only post approved links. If you’re smart, you’ll also include Vimeo on Demand and Vimeo OTT as a holdback for you to sell the film through your own website. Distributors tend not to utilize that right, so it’s generally something that you’ll be able to negotiate. It’s included as a holdback in my standard template contracts for the filmmaker’s country of origin. I do stipulate that it’s generally subject to advisement regarding the timing of the release. Another thing that you should be fine “selling” is whatever you need to fulfill any crowdfunding obligations like DVDs, Blu-Rays, and TVOD Screeners. Although again, you should make sure to negotiate this into your distribution agreement. That said, it’s never been an issue, although it might be subject to the same sort of advisement on timing as the Vimeo on Demand example above. If you distributor does not agree to either of the stipulations above, you should consider walking. Here are some tips on vetting your distributor/Sales agent, and producer’s rep. Related: How to vet your distributor/Sales Agent Related: How to Vet Your Producer’s Rep The biggest thing you need to keep in mind is that no matter how much you disagree with the choices on artwork and marketing made by the distributor, you should not post any unauthorized sales links. If you do, you could be putting yourself in a pretty massive legal liability. This one came out a little short, but thanks for reading anyway. If you like it and want to see more content like this, you should join my mailing list. You’ll get monthly blog digests segmented by topic, it’s like a short e-book in your inbox every month FOR FREE! You’ll also get access to my resources packet, which includes an actual e-book, whitepaper, several templates, and more! Finally, if you’ve got a project you’d like a guiding hand through this process, I offer individual consultation, as well as consideration for my distribution, marketing, business planning, and financial services packets, use the submit your film button. Thanks, and see you next week. Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie Why you NEED to HELP your Distributor Market your Movie (If They'll Let You.) Distribution and Marketing aren’t the same thing. Your distributor should excel at making your film available, but you’ll still need to drive attention. Here’s why. If you think your work is over when you finish making your film, and someone will just give you a few hundred grand more than it cost to make it so you can make your next one then you’re in for a real wake-up call. Sadly, there’s no money in making films, only in selling them, and the work of selling them is no longer solely on your distributor. Or, at least you shouldn’t count on it being that way. Here’s why. But before we get started on that, it’s worth a few sentences analyzing the distribution and marketing are related, but NOT the same thing. So what is the difference between film marketing, film sales, and film distribution? The simplest way to put it is that Distribution is making your product available for sale, and marketing is convincing end consumers to buy it. Sales is the process of getting it to the various distributors. Now that that’s done, on to the topic at hand. Also, before we get started it’s important to note that not all distributors will accept your help. Some control and participation in your home market should be part of your negotiation with your distributor if you’re dealing with them directly or your international sales agent if you’re not. 1.More sales and more money for everyone! If you want to make money from your film and have the distributor keep the marketing for the film intact, you’re going to have to give them a reason WHY they should listen to you. As such, you’ll have to help push the film out there. Also, after they recoup the money they put in, you will be taking the lion’s share of future sales, so it does have a dramatic impact on not only how much you get paid, but also how soon you get paid. Also: most distributors don’t do a lot beyond the initial publicity push. If you want to continue sales and generate awareness of your movie, you’ll need to keep talking about it. 2. Marketing your work builds your brand In the words of Alex Ferrari of Indie Film Hustle, "if you don't think you need a brand as a filmmaker, you're wrong. Generally, a brand is defined as every interaction you have with customers or potential customers. So the first step in building your brand is building awareness of your work. That means marketing your movies. Do make sure not to be spammy or a jerk about it though. No one likes a jerk. Unless you’re a wholesaler to the jerk store. #DatedReferences Related: 5 DOs and DON’Ts for selling your film online. 3. You’ll get a much deeper understanding of the process If you want to make a career in film, you’ll need at least a cursory understanding of what it takes to sell a film, unfortunately, there’s no money in making films, only in selling them. Getting a much better idea of how this process works will make it easier for you to make a salable film in the future. 4. Helping Gives you a better idea of what’s going on with your movie One of the biggest frustrations faced by many filmmakers is not understanding what’s going on with their films. One of the best ways to stay in the loop is to help your distributor with marketing. This can give you a lot more up-to-the-minute data that you can act on to make better marketing decisions and with luck get closer to creating a positive feedback loop of sales. Admittedly, in the current system that’s A LOT of luck. 5. If you’re putting the work in, your distributor will be more likely to take your requests. If you’ve got more face time, and your film is performing well, your distributor is more likely to make pitches they might not otherwise make. Part of that comes down to perspicacity, and part of it just comes down to numbers. Thanks for reading! If you liked this post, please share it with your filmmaking community on your social media, or drop a comment down below with your thoughts about what you’d like to know about film distribution, grab my free Indiefilm business resources packet for an e-book, a whitepaper, a bunch of templates, and more. As you may know, I don’t just talk about distribution, I’ve run companies that do it, and still connect filmmakers to the better players in the game. If you’d like your film to be considered, use the services button below. That’s my primary business, in fact. Check out the tags below for related content. Read More Distribution Ben Yennie Distribution Ben Yennie How Did Film Distribution Get So Broken? Filmmakers know the system sales agents use to exploit their content is well, exploitative. The issue runs deeper that dishonesty. Here’s an exploration. It’s no secret that many (if not most) filmmakers think film distribution is broken. While there are many reasons for it, part of it is due to the rapid change in the amount of money flowing to distributors, and what constituted effective marketing. What works for marketing films now isn't what worked in the past, and the systems distributors built themselves around have fallen apart. Here's an elaboration. First, some history. Independent Film Distribution used to be primarily a game of access. By controlling the access and becoming a gatekeeper, it was easy to make buckets of cash. If you had a VHS printer and access to a warehouse facility that could help you ship to major retail outlets you could make literal millions off of a crappy horror film. In those days it was also significantly harder and significantly more expensive to make a film, as you’d need to buy 16mm or 35mm film, get it duplicated, cut it by hand using a viola, and then reassemble it and have prints made. This was a very expensive process, so the number of independent films that were made was much smaller than it is today. Then DVD came along, and around the same time some of the early films from the silent era that actually had followings entered the public domain. As such, a good amount of companies started printing those to acquire enough capital to buy libraries and eventually build themselves into major studios. Sure, DVD widened the gate a bit, but it also expanded the market so everyone was happy. Around this time, Non-Linear Editors and surprisingly viable digital and tape cameras were coming into prominence. As a result, it became much more possible to make an independent film than it was before. Of course, at that time it was still beyond the reach of most people, and since the average amount of content being made went up, the demand was growing enough that there still wasn’t a massive issue with oversaturation. A similar expansion was expected with Blu-Ray, but at around the same time, alternative services like iTunes were starting to become viable as broadband internet was becoming commonplace. As such, the demand for physical media started to dwindle, and as a result, the revenue being made dropped. At the same time, Full HD cameras were now very affordable, and some even rivaled 35mm film. So the amount of money being made in the industry went down, and more films were being made than ever before. Shortly after that, the ability to disintermediate and cut out the gatekeepers came to be. As such, the market became flooded with often low-quality films that the challenge was no longer getting your film out there, it was now getting your film noticed. That’s where we are now, and nobody has fully been able to solve that problem yet. Here’s a summary of how we got there, and how the process of distribution has changed. Access USED to be enough It used to be that access was all you needed. Once you had that, you could make an insane amount of money selling other people’s content. Sell it on the box art The box art being caught was the most important thing. Stores didn’t let you return movies because you didn’t like them, and other than your own limited circle of friends consumers didn’t have a lot of power to let people know about bad movies, or bad products in general. Sell it on the trailer Even if it was bad, nothing would come of it. Once you had their money, that was all you needed. The idea of making your money in the first weekend before bad word of mouth got around was much more viable as people couldn’t just tweet it out or rant about it on Facebook or YouTube. Let’s contrast that with how things work Now: Access is easy Anyone with a few thousand dollars can put their film up on most Transactional platforms on the internet. You can also put it on Amazon or Vimeo yourself for free. There are very few in terms of quality controls. the Poster/keyart is still important, but reviews are more important. Sure, people still get their eyes caught by a poster. But the reviews matter significantly more in terms of getting them to a purchase decision. The poster may catch their eye, but the meta score from users on whatever platform you’re watching the film on is important. The trailer might still be the deciding factor Generally, after people see the poster, they’ll read the synopsis, and then they’ll either watch the trailer or read the reviews. If they watch the trailer, they may have more leniency on reviews. Also, if the trailer is really good, it can get a bit of viral spread. If it’s bad, it will become known. Thanks to social media, if the film is bad it’s not hard to let people know about it. If the film is mismarketed, people will know. As such, authentic marketing to the film is extremely important. Thanks for reading! If you liked this blog, you’ll probably like the stuff you get on my mailing list. That includes a film marketing & distribution resource packet, as well as monthly digests of blogs just like this one. Or, if you’re researching whether or not you want to self-distribute your independent film, you might want to submit it. I have hybrid models for distribution that help filmmakers build their brands, and get the right amount of visibility for their films so they can rise above the white noise. Check out the buttons below, and see you next week! Check the tags below for free related content! Read More The Problem with the IndieFilm Distribution Payment System If you’ve got an issue with your sales agent or distributor paying you, it’s not neccessarily on them. (although it might well be.) either way, Its important to understand how money flows in this industry before you go at them. A lot of filmmakers I’ve worked with don’t know enough about distribution to really make a career making creative content. This shouldn’t be a surprise, as it’s something film schools tend not to teach. That being said, there’s a part of the equation most people just don’t talk about, and WHY it takes so long for filmmakers to get paid? This blog addresses that. As an aside, this is laid out from a financial perspective in the blog below. However, we will also be tracking how much of the money goes away throughout this blog. This will admittedly be very much oversimplified, but we’re going to be tracking it as a single dollar for ease of understanding. Related: Indiefilm Waterfalls 101 How long it takes for the platform to pay the aggregator I talk about this in workshops quite frequently, but each different stakeholder takes a while to pay the next person in the pay chain. Most of the time, this starts with the platform and aggregator relationship. In general, this is the first section in the chain. Normally, the platform will take 30%-35%. This should include credit card processing fees. So if the consumer gave 1 dollar, then we’re down to 65-70 cents. While exceptions exist, the platform most often pays the aggregator on a monthly basis. After that, the aggregator will need to pay the distributor. If you’re self-distributing, that distributor is you, but not all aggregators will deal with you in the fashion you’d prefer, for more information, read the blog below. RELATED: What platforms should I release on? How long it takes for the aggregator to pay the distributor Once the aggregator is paid, the money will flow to the distributor. As I stated, this may be you. Depending on what aggregator the distributor is using, payments will be either monthly or quarterly. Sometimes the aggregators that pay quarterly have lower overheads, so it might make sense to wait. That said, I think the most current data you can get is necessary to make smart marketing decisions. If you still don’t know the difference between a sales agent and a distributor, check the link below. Most aggregators operate on more of a flat fee model, so we’ll assume that the money is passed through. If you worked with an aggregator, you end up with about .70 cents for every dollar the consumer spent, but you also probably had to put the aggregation fees in yourself, so you’ll probably need to sell around 2100 copies (assuming they sell for 2.99 each) to break even. You’ll also get insights within 2 to 4 months. Related: What’s the difference between a sales agent and a distributor? How long it takes for the Distributor to pay the Sales Agent Most distributors don’t deal with filmmakers directly. They’ll either deal with a Producer’s Rep or a Sales Agent. Generally, Distributors pay quarterly to start and sometimes will move more towards bi-annually after a few years. This can be arduous, but it’s very difficult to negotiate. Generally, the distributor will take 30-40%. (As of publishing this, I take 25% for direct US Distribution.) So of the 65-70 cents, we had after the platform. That means that after the distributor takes their cut, there are between .39 and .49 cents left to the filmmaker. (or around .52 cents if you work with me) Also, even though I am a distributor, I work directly with filmmakers. So you’d keep .52 cents on the dollar, and be paid around 4-5 months after the initial sale is made. (I time my reports to work with my aggregator to minimize wait times. Plus, I cover aggregation and the majority of marketing and publicity fees. Related: What does a producer’s rep do anyway? How long it takes for the Sales agent to pay the production company Finally, the sales agent pays the Producer’s Rep and production company. This is also generally on a quarterly or Bi-Annual basis, although there’s more room for variation here. After that, the filmmaker uses the money to pay back debts, then investors, then whoever else is left to pay back from the production. The Sales Agent normally takes between 20% and 30%, but they sell territories across the globe. A Producer’s Rep will normally take 10% of the money paid to the filmmaker, and will normally be paid in line with the sales agent. So, following the chain we talked about before, by the time the sales agent pays the filmmaker, we’re looking at between .27 and .39 cents on the dollar without a producer’s rep, or between .24 cents and .35 cents with one. That’s not a great representation of what a good producer’s rep will do for you though. (including the potential to get you paid immediately from the first sale) I’ve painted these deals in the most simple possible light to help you understand, but there are lots of single-line items that can screw you if you’re not careful. So, while the producer’s rep may take a small piece of the pie, (.03 to .04 cents on the total dollar) they can help you make the whole pie a fair amount bigger. Thanks so much for reading! If you have any questions for me, you might want to check out my mailing list. I send out monthly blog digests including ones JUST LIKE THIS, plus you get lots of great resources like templates, links to money-saving resources, and a whole lot more! Or, if you’ve got a completed project and you’re looking for distribution, submit it using the link below. You can also learn more about services for early-stage projects using the other link. I’ll review it and reach out soon. Check out the tags below for more related content! Read More Marketing Ben Yennie Marketing Ben Yennie 7 Things to Prep BEFORE STARTING your Festival Run If you want to find success at film festivals, you need to prepare. Here’s a guide. Far too many people consider the festival circuit as the be-all and end-all of their marketing and distribution plans. While there are quite a few things wrong with that approach from a distribution standpoint. (See last week’s blog here for an outline of why) film festivals can be a great way to market your film. Although getting ready to attend a film festival is generally a bit hectic. There’s always a lot to do, and it’s easy to forget something. So with that in mind, I’ve prepared a prioritized list of the top 7 marketing assets you’ll need to prep before going to a film festival. 1. Business Card If you bring nothing else, you should bring a business card. Well, also a set of clothes I suppose, but I digress. If you want to make lasting connections, you need a way to follow up with people. If you want people to follow up with you, they’ve got to have a way to reach you. Simply saying that you’re easy to find online is not really an acceptable answer at networking events like this. It’s far too easy to forget that they were going to reach out at professional events like this. 2. All your social media pages Set up and active As we discussed last week, a big part of the reason to attend film festivals is to build your brand and build awareness of your film. You want to make sure your film is easy to find online, and that there’s a way you can establish a connection with anyone who might want to buy it in the future as soon as you’ve connected with them at a film festival. For more, check out this article I wrote on proper Facebook management. Related: How to manage your indiefilm facebook page 3. Your Website Its 2019. Your film needs a website. Even if it’s just a splash page going to your social media outlets. The only reason this is below social media is that if you’re going to drive people to your website when you’re not at a festival, you’re going to need something like social media to do it. For more information on what should be on your website, check out the blog below. Related: 13 things you NEED on your Production Company Website 4. Printed Materials to give away Even a business card can sometimes be hard to remember, and it’s nowhere near enough to capture the attention of the overworked journalists that may attend this film festival. That’s why you need larger, harder-to-lose festival printouts. These can give all the information a time-strapped reporter would need to write a quick blurb about your film, and direct to something like an EPK for more detailed information. Learn more with the article below. Related: Printed materials for your festival run But speaking of EPK… 5. An EPK (Electronic Press Kit) Every filmmaker will have assets that would be useful to a reporter, but not really something that could be easily handled by a printed brochure. That’s where an EPK comes in. The EPK is more detailed information and assets that can be used by a journalist or reviewer. It should have blurbs, links to your trailer, sizzle reels, and interviews if you have them. For more information, click the link below. Related: Everything you need in your Indiefilm EPK 6. An Email List Capture page Going back to your website, if it’s anything more than a simple splash page, you need a way to capture the email address of people visiting your site. With their consent, of course. This will be much more valuable to you than almost any other social media, as it’s more static and doesn’t change its terms as often as other platforms may. Although that’s been less true as of late with Gmail’s aggressive filtering systems. Related: 5 Steps to Grow your Indiefilm Email List 7. A Giveaway for people joining your list Finally, if you have an email list set up, you should give something away to entice people to join. I’ve listed 5 ideas for filmmakers below, as the standard fallbacks of ebooks, and other marketing giveaways aren’t always valid. Check the article below to see what I mean. Related: 5 Giveaways for your IndieFilm Email Marketing Thanks so much for reading! If you want more content like this, you should join my mailing list. Just as it says in #7, I have a few giveaways for you including a monthly blog digest and a FREE Film Marketing Resource package! Check out the tags below for related content Read More How to Get your Movie on Netflix Everyone wants to get their film on Netflix, but it’s a lot easier said than done. Here’s an outline. Many filmmakers and even more film consumers just want to know when work will be on Netflix. In recent years, this has become more difficult than it was previously. IT used to be that it was a relatively easy sale to get on Netflix, although the money wasn’t very good. More recently, the bar has been raised substantially, and the money you get for it hasn’t increased as much as we may have liked it too. What follows is an outline of how to get your film on Netflix, both as an original and as an acquisition. How do I become a Netflix original? To become a Netflix original, you must be picked up by Netflix early on in development. Generally, you’ll need to have contacts that can get you into meetings with the higher-end development executives at Netflix. You’re also going to need to have a strong script and package already in place. You might even need some money already in place, although that’s less important given the way most of their original deals are structured. At this point, if they take the project you’ll get a Presale stating that the money will be paid to you once the film is delivered complete. After that, you’ll have to take it to a bank to liquidate the presale so you’ll be able to make the movie on the likely ambitious schedule they’ll put you on. Generally, the pay for this is pretty good, looking very similar to other high-end presales. If it’s well managed, and you focus on financing sources like tax incentives as part of your mix, you’ll make a decent wage and everyone involved will end up much better off. Including your investors. Make sure you don’t send them any copyrighted material without them requesting it, that’s a blacklist you don’t want to be on. Acquisitions. What Netflix pays for acquisitions is a different matter, as is the process for your film being acquired by Netflix. First, it’s important to note that you can’t approach Netflix yourself. You will need to go through either a localized distributor or a sales agent to get to Netflix. I do have contacts in this department, but it’s not something I’ve done a lot of business with directly. Netflix has also gotten extremely picky about this in the last few years, favoring their original content. If I’m completely honest, I also wouldn’t pay some of the better-known aggregators to make this approach for you. Given the volume of business that goes through them, it’s generally a very low success rate. Sure, some of them will refund money if unsuccessful, but often there are hidden fees and the money is tied up for a decent amount of time. When the fees from those aggregators are in excess of 10k, that’s not really good for most filmmakers. To be clear, this is not something Netflix itself charges. It used to be that Netflix would take almost any content that was able able to meet broadcast standards. and they thought they would get a decent amount of views for it. In recent tears, however, Netflix’s Acquisition strategy has been refocused to only accept films with a domestic theatrical, often demanding 6 figures at the box office to even consider the film. While there are ways around this, it’s inadvisable to much other than work with a reputable distributor who has deep connections to the platform. In regards to their distribution payments, there’s a lot more that I’d love to say but really shouldn’t say publicly due to existing contractual obligations as well as other concerns regarding pending business. DVDs Through the Mail Most of the time when people think of Netflix, they think of their Subscription Video on Demand offering. However, there are a surprising number of people who still subscribe to their DVD offering which was rebranded to DVD.com. Generally, the way Netflix gets these DVDs is by simply buying discs at wholesale from the manufacturer. They don't tend to buy too many DVDs, so even if you're getting lots of rentals you end up not making a whole lot of sales. Most of the time, they buy fewer than 100 DVDs, which is less money than you probably think it is. You don't see any money per rental beyond the initial purchase price. That said, since DVDs are almost always non-exclusive rights, the additional revenue does help, although it's nowhere near the amount of money you'd see from something like a Redbox deal because they don’t order as many discs. At least, that was true before RedBox's IPO and subsequent Acquisition. Thanks so much for reading! I hope this blog was useful to you. If you’d like to learn more, I recommend joining my mailing list for regular blog digests and other resources about film distribution and marketing. Click below for more information. Check the tags below for related content Opinions expressed in this piece are not in any way endorsed by Netflix, Its parent company, or any subsidiaries. Opinions expressed within are solely those of Guerrilla Rep Media, LLC and its founder, Ben Yennie. Read More Marketing, Community Ben Yennie Marketing, Community Ben Yennie The Printed Materials you Need for Film Festivals and Markets If you want to get the most out of a Film Festival, you’ve got to maximize it as a promotional opportunity for you and your work. Here are some things that might help. Most filmmakers only think about festivals when they’re getting ready to market their film. There are lots of reasons that this line of thinking is flawed, however, it would take far more than a 600-800 word blog to even begin to touch on them. However, if you’re going to have ANY level of success from your festival run, you’re going to need some really snazzy printed materials. This blog outlines a couple of examples I’ve used personally and had success with. Why you need Good Printed Materials Just getting into a festival is no guarantee people will see your movie. Generally, you have to spend a good amount of time and energy driving people to your screening. One of the most effective ways to do that is by having them a tangible piece of paper that has all the information they’ll need on it. Generally, the cheapest thing you can hand them is a postcard, however, for festivals, I strongly prefer a Tri-Fold Brochure. The Tri-Fold Brochure has more space for everything a reporter or reviewer may need to know about your project, all put into a piece of paper that can be easily turned and segmented to group relevant pieces of information. The point of getting into a film festival is less about getting people to see your movie, and more about validating your film and giving it a chance to get meaningful press coverage. Both of these things are significantly more likely to happen if you can make a reporter’s job easier by giving them all the information they need in one compact piece of paper. Postcard Outline Generally, you’ll want the promotional art for your project to take up the front of your postcard. If you don’t want it to take up the entire front of your film, you could leave a space for screening times towards the bottom. If you want to get more use out of these cards, you could also leave a space that can be covered with a return address mailing label on the bottom where you can put the time and locations of screenings at this festival. On the back, I’d put a synopsis, information about the director, and maybe a little bit about how the film was shot. You probably won’t have space for much else. Brochure Outline I’ve added a template for this in my resources section, but I’ll outline what I mean here. On the front panel, you’ll want to put the key art, where the film is screening (The mailing address label works well here too), and maybe your social media links or where they can purchase the film. When they open the brochure, on one of the two panels you reveal you’ll want to put some stills from the film to add visual interest. On the other panel, they’ll see when they open your brochure, you’ll want to outline your production company, including your creed/mission statement and other projects you’ve made. Then they open the other panel, you’ll want them to see photos and bios of your key cast and crew. On the back panel, you’ll want a bit more art, a bit about what you’re working on next, the next steps for the film, and then a press contact and a link to download your EPK. If your film is available for sale anywhere, you’ll also want to include that there. I actually a template of this format for MSWord and Apple Pages. You can find it in my FREE Resource package alongside other templates. Click the tags below for more free content Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie When should you Contact a Sales Agent/Producer’s Rep about your Film? If you want to make movies more than you want to monetize them, you’ll need a sales agent or producer’s rep. Here’s when you should reach out. Seeing as how a majority of my business still comes from representing filmmakers to sales agents and distributors, it’s unsurprising that a question I get at my events and in my inbox quite often is when is the best time to approach a producer’s rep, sales agent, or distributor. Well, as with many things I tend to blog about, there’s a short, true, and mostly unhelpful answer to that question. There’s also a longer, more nuanced, and more correct answer. This blog attempts to answer both in under 800 words. The Short Answer: As soon as you realistically can Marketing a film on a budget isn’t something you can do overnight. It takes a while to build a social media presence, as well as to build up a base to market your film to. It’s not something that can be done efficiently overnight, so you’ll want to get some marketing support on your project as soon as possible. That’s why you hire either a producer’s rep or a Producer of Marketing and Distribution (PMD). The Long(er) Answer: When you can afford them, and they’re willing to come on your project. Most people tend to approach Producer’s Reps and PMDs only when their film is completed, or even after the initial festival run of the film. This can shut a surprising amount of doors for you. I had one client who submitted to Sundance and was rejected outright. The next year, after I connected him to US Distribution, the distributor talked to a programmer at Sundance who said that they would have accepted the film and programmed had it been brought to his attention. Unfortunately, they’d given premier status to another, smaller festival so it was too late. PMDs and Distributors often have connections to help get you past the initial round of screening at major festivals, which can be all you need to actually get into the festival. 99 films out of every 100 submitted to Sundance don’t get in. 90 out of 100 of those are declined by extremely low-paid (or unpaid) staffers who look for any possible reason to decline so that the submission queue is more manageable for the actual festival programmers. If you have the right rep, PMD, or distributors they can help you bypass that first layer of screening, giving you a huge leg up. How much will this cost you? Producer’s reps tend to get a bad rap for charging up front. If all they’re doing is brokering your film to sales agents, and they’re taking a commission, then they really shouldn’t need to. I don’t. However, if I’m writing a business plan, deck, pro formas, or developing a financing, festival, marketing, or distribution strategy, I do charge upfront. We all have bills to pay, and just as you should always pay all other members of your crew, you should pay your producers too. My services are packaged based on need, more information on my services page. Generally, it’s wise to allot some money for marketing as soon as you create the initial budget for your film. You should do this even if you plan on raising it at a later date, say after completion of principal photography. It may be wise to keep this budget separate given a distributor will most often foot some of the bill and sometimes it can bump you into a higher guild tier. Related: The 4 Stages of Film Financing If you’re raising money for prints and advertising, then you should allocate some of that money to a Producer of Marketing and Distribution (PMD) or Producer’s Rep to help you execute your marketing plans efficiently. Essentially, if you’re looking for a rep to do anything other than broker a completed film, you had best expect them to charge you some money upfront. Unless the Sales agent pays you a minimum guarantee, it’s unlikely that the film or the filmmaker will get paid anything for about a year after the initial signing. You can’t expect a Service provider to wait even longer than that to make any money, especially when there’s a significant amount of work involved in the creation and execution of the work you’re asking them to do. If you want more resources to help you distribute your film, you should grab my free film business resource pack. It’s got an e-book, a whitepaper, a deck template, a film festival promotional brochure template, and a whole bunch of money and time-saving resources. Also, if you need a producer’s rep, check out my services page. Check out the tags below for related content Read More 5 Takeaways from AFM 2018 A legacy port of my breakdown of the 2018 American Film Market. I’ve been going to the American Film Market® for 9 years now, and I’ve been chronicling what’s going on with the market in many ways from podcasts to blogs and even a book or two. So given that AFM® 2018 wrapped up yesterday, I thought I would do something of a post-mortem. While I’ll outline my feelings on the whole thing in this blog, the long and short of it is that the state of the American Film Market is mixed But before I dive into it too deeply, I’d like to say this. My vantage point on this is purely my own, and subject to the flaws that one would expect from experiences of someone only attending the market for a few days this year. I went on an industry badge because I simply needed to take a few meetings to check in on things I’ve already placed with Sales Agents, as well as shop a couple of my newer projects to the people I prefer to do business with. I considered exhibiting this year but decided against it after hearing how slow Cannes was in May, as well as the massive drop in buyers AFM Experienced last year. We’ll see how that changes next year. One last note, I wrote this blog in traffic in LA, while my wife drove. I normally don't publish first drafts, but it's time-sensitive, so apologies for any typos. So without Further Adieu, let’s get into the post-game. 1. Buyer numbers appear to be up, and they’re buying Word in the corridors last year was that AFM went from around 1800 buyers in 2017 to around 1200 buyers in 2017. After talking to a few sales agents who shall remain nameless, it appears that the total buyer count at this year’s AFM is somewhere in the vicinity of 1325. While walking the corridors I definitely saw a lot more green badges than last year. Not only were there more buyers there. It appears that they’re actually buying films. I heard several sales agents remarking that they had closed multiple sales at the market, and the buyers were sticking around much longer than they have in years previous. Overall, this is good for the market, especially given that for many years almost all of the business was done in follow-up not actually during the market, especially for smaller-budget films. 2. Exhibitor numbers appeared to be down In previous years, both the second and third floors of AFM were packed with smaller sales agencies, This year, only the third floor was booked and even then it seemed as though fewer offices were booked. Also, it appeared that many of the offices on the 8th floor seemed to be vacant. After talking with a few exhibitors, it appears likely that this trend is going to continue next year. Several I talked to were unsure of whether or not they would continue to exhibit at AFM. Although we’ll see if new names come up to take their places. 3. The Entirety of the Loews required a badge to access This made a lot of headlines prior to the market. I was hesitant to believe that this would be a good thing for the market, particularly for the high priced film commission exhibitors on the 5th floor. I only showed up to the market on Saturday, but apparently it was extremely quiet for the days preceding it. The market seemed somewhat slow to me, but mildly busier than I expected it to be on Saturday, and, but began steadily dropping off on Sunday and Monday, and Tuesday was VERY slow, even by the generally slow standards of what is functionally the last day of the market. Word on the street is that many of the regular exhibitors on the 5th floor were not too happy with it, especially for the first few days. Although I’ll keep my sources on that anonymous. One notably missing 5th-floor exhibitor was Cinando. It’s possible they moved, but the spot that they normally occupied was vacant. This could be due in part to the growing prominence of MyAFM. In some ways, it was nice, though. It was never too hard to find a seat, and once you got into the building there were no additional security checks. Not sure if that makes up for the drawbacks though. 4. The Location Expo on the 5th floor was fantastically useful, but under-attended AFM opened one of the Loews Hotel Ballrooms for use by film commissions and specialty service providers starting on Saturday. It was really useful to be able to talk to various commissions and compare incentives. However, there very few times I saw more than a handful of people there, and I dropped by at least 8 or 9 times because of various sorts of business I had to do with some of the vendors in the rooms. (More soon) Overall I hope to see it again, but I can’t help but think it would be more useful to all involved if it were in an area that did not require a badge to check out. 5. Early Stage Money exists there (For the Right Projects I was surprised to see how much traction my team got for an early stage project, despite the fact it has a first time feature director. Admittedly, we came in with a good amount of money already in place, and it’s a good genre for this sort of thing but the fact that there might be a decent amount to come out and report in blogs early next year. Thanks so much for reading! If you haven’t already, check out the first book on film markets, written by yours truly. Also, join my mailing list for free film market resources so you’re ready for future film markets. GET THE BOOK ON AMAZON JOIN MY MAILNG LIST! All opinions my own. AFM and the American Film Market are registered trademarks of the Independent Film and Television Alliance (IFTA) This article has not in any way beed endorsed by the IFTA, AFM, or any of its affiliates. Read More How to Write an Independent Film Business Plan - 4/7 Marketing Section If you want to raise money from investors, you’re going to need a plan. A business plan, to be exact. Here’s how you write the marketing section. In this installment of my 7 part blog series on business planning, we’re going to take a look at the marketing section of the plan. This section is likely to be the longest section, as it encompasses an overview of the industry, as well as both marketing and distribution planning. Generally, this section will encompass 3-5 pages of the plan, all single-spaced. This is among the most important sections of the plan, as it is a real breakdown of how the money will come back to the film Industry In this subsection, you’ll want to define some key metrics of the film industry. You’ll want to include its size, how much revenue it brings in, and ideally an estimate of how many films are made in a year, as well s the size of the independent part of the film industry vs the overall film industry. If you want help with some of those figures, you should look at the white paper I did with ProductionNext, IndieWire, Stage32, and Fandor a few years back. To the best of my knowledge, it’s still among the most reliable data on the film industry. The fact that the film industry is considered a mature industry that is not growing by significant margins is also something you’ll also want to mention. You’ll also want to talk about the sectors of growth within the film industry, as well as where the money tends to come from for independent producers, and a whole lot of other data you’re going to have to find and reference. As mentioned above, the State of the Film Industry book linked in the banner below has much of this information for you. Overall, this section should be about a page long. The best sources for Metrics are the MPA THEME report and the State of The Film Industry Report. You can find links or downloads of both of those in my free resource pack. Marketing The marketing subsection of the plan goes into detail about both the target demographics and target market of your film, as well as how you plan on accessing them. To quote an old friend and long-time silicon valley strategist Sheridan Tatsuno, Finding your target market is like placing the target, and marketing is like shooting an arrow. For more detail on how to go about finding your target market, I encourage you to check out the blog below, as my word count restrictions will not let me go too deeply into it here Related: How do I figure out who to sell my movie to? Figuring out how you’re going to market the film can be a challenge for many filmmakers. Generally, I’d advise putting something more detailed than “smart social media strategy.” I tell most of my clients to focus on getting press, appearing on podcasts, and getting reviews. Marketing stunts can be great, but timing them is difficult to pull off. All of this being said, you’ll need more to your marketing strategy than simply going to festivals to build buzz. The marketing category at the top of this blog, as well as the audience, community, and marketing, tags at the bottom of the page, are a good place to start. Distribution This section talks about how you intend to get your film to the end user. This section should be an actionable plan on how you intend to attract a distributor. This section should not be “We’ll get into sundance and then have distributors chasing us!” I hate to break it to you, but you’re probably not going to get into Sundance. Fewer than 1% of submissions do. The biggest thing you need to answer is whether you plan on attaching a distributor/sales agent or whether you intend to self-distribute. if you’re not sure, this blog might help you decide. There’s lots more to it, I’d recommend checking the distribution category or the international sales tag on this site to learn more of what you need to write this section. Related: 6 questions to ask yourself BEFORE self distributing your indiefilm Somewhere between a quarter and a third of all the blogs on this site are devoted to distribution, so there’s lots of stuff here for you to use when developing this plan. If you want to develop more of a plan than distributing it yourself, it’s also something I’d be happy to talk to you about it. Check out my services page for more. If that’s a bit too much for you but you still want more information about the film business, check out my film business resource package. You’ll get a free e-book, monthly digests segmented by topic, and a packet of film market resources including templates and money-saving resources. This is part of a 7 part series. I’ll be updating the various sections as they drop. So check back and if you see a ling below, it will take you to whatever section you most want to read. Executive Summary The Company The Projects Marketing (This post) Risk Statement/SWOT Analysis Financials Section (Text) Pro-forma Financial Statements. Check the tags for more content! Read More The 4 Stages of Indiefilm Finance (And Where to Find the Money) Financing a film is hard. It might be easier if you break it up into more manageable raises. Here’s an outline on that process. Most of the time filmmakers seek to raise their investment round in one go. A lot of people think that’s just how it’s done. As such, they ask would they try anything else. If you have a route into old film industry money you can go right ahead and raise money the old way. If you don’t, you might want to consider other options. Just as filmmakers shouldn’t only look for equity when raising money, Filmmakers should consider the possibility of raising money in stages. Here are the 4 best stages I’ve seen, and some ideas on where you can get the money for each stage. 1. Development If you want to raise any significant amount of money, you’re going to need a good package. But even the act of getting that package together requires some money. So one solution to getting your film made is to raise a small development round prior to raising a much larger Production round. If you want to do this with any degree of success, you’re going to have to incentivize development round investors in some way. There are many ways you can do it, but they fall well beyond my word count restrictions for these sorts of blogs. If you’d like, you can use the link at the end of the blog to set up a strategy session so we can talk about your production, and what may or may not be appropriate. Related: 7 Essential Elements of an IndieFilm Package Most often, your development round will be largely friends and family, skin in the game, equity, or crowdfunding. Grants also work, but they’re HIGHLY competitive at this stage. Books on Indiefilm Business Plans 2. Pre-Production/Production It generally doesn’t make sense to raise solely for pre-production, so you should raise money for both pre-production and principal photography. This raise is generally far larger than the others, as it will be paying for about 70-80% of the total fundraising. It can sometimes be combined with your post-production raise, but in the event there’s a small shortfall you can do a later completion funding raise. It’s very important to think about where you get the money for the film. You shouldn’t be looking solely at Equity for your Raise. For this round, you should be looking at Tax incentives, equity, Minor Grant funding if applicable, Soft Money, and PreSale Debt if you can get it. Related: The 9 Ways to Finance an Independent Film Post Production/Completion Some say that post-production is where the film goes to die. If you don’t plan on an ancillary raise, then too often those people are right. Generally you’ll need to make sure you have around 20-25% of your total budget for post. It’s better if you can raise this round concurrently with your round for Pre-Production and Principle Photography The best places to find completion money are grants, equity, backed debt, and gap debt 4. Distribution Funding/P&A It’s very surprising to me how difficult it is to raise for this round, as it’s very much the least risky round for an investor, since the film is already done. Theres a strong chance your distributor will cover most of this, but in the event that they don’t, you’ll need to allocate money for it. Generally, I say that if you’re raising the funds for distribution yourself, you should plan on at least 10% of the total budget of the film being used for distribution. Generally you’ll find money for this in the following places. Grants, equity, backed debt, and gap debt. If you like this article but still have questions, you should consider joining my email list. You’ll get a free e-book, monthly digests of articles just like this, segmented by topic, as well as some great discounts, special offers, and a whole section of my site with FREE Filmmaking resources ONLY open to people on my email list. Check it out! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 6 Questions to Ask yourself BEFORE Self Distributing your Film Whether to get a sales agent or distribute your film yourself is a hot topic on most film forums. Here are 6 questions you should consider to help you decide. In a follow-up to last week’s blog on self-distribution platforms, I thought we would step back for a minute and try to understand what filmmakers should consider before they decide whether or not to self-distribute their movie. This blog is a list of potential parameters you might want to go by. It’s not the only things you should take into account, but they are some factors you’ll need to consider 1. Do you have money for promotion and aggregation? While you get to keep 100% of the money you make when you use someone like Distribbr, you also have to pay them upfront to get you on those platforms. If you use traditional distribution, generally the distributor will take on that risk for you. Also, they’ll generally pay less than distribbr would charge you in aggregation fees, so they can put more money into marketing the film. NOTE FROM THE FUTURE: If you need aggregation services, use FilmHub or IndieRights. The model is better than pay for placement even if you give up an extra 20%. Further, with traditional distribution there tend to be some notable economies of scale. One of these factors is the fact that most good distributors and sales agents will have a publicist on retainer so your film will get better press, and further reach. 2. How your social media following. If you don’t have a pretty decent social media following, then you really should consider traditional distribution. If the equation below works out to more than 1, then perhaps you should consider selling your film yourself, especially since this doesn’t factor for your personal press contacts, etc. If it doesn’t, then maybe you should look into traditional distribution. I know I'm asking you to do algebra, but if I get asked in the comments I may create a calculator that runs the math for you. ((TF0.01+FF0.05+IF0.05+OFX0.03+EL.1)(SP-PF))/OLF+5000 TF = Number of Twitter Followers FF = Number of Facebook Fans IF = Number of Instagram followers OFX=Number of other social media followings(Can repeat multiple times) EL = Number of people on your relevant email list * 0.2)* SP = Sales Price PF=Platform fees OLF=Outstanding Liabilities of the film (I.E. how much do you need to pay back investment and deferments) The 5,000 represents money you’ll have to spend to get your film out there between marketing assets like posters and trailers, publicity, and limited social media boosts. NOTE FROM THE FUTURE: This is a simplification of your marketing reach, and does not account for including how underserved your niche is as well as how much access you have to said niche. Given these calculations really only account for Transactional distribuion, it undercounts potential spread via AVOD and international sales if you seek them. I might remake this algotithm if I get enough requests. 3. What was the Budget of your film? While I’m a big fan of traditional distribution (I am, after all, a distributor) I will say that in many cases it doesn’t make sense to try to sell a film made for less than 10k unless it came out REALLY well. Generally, that equation above will also look favorably on you if your budget is that low. There are, however, cases where this is not true. 4. Do you have press contacts? Press is the most cost-effective way to market your movie. If you have a list of close contacts in the press, it can be a huge difference in your effectiveness at selling your film without help from a traditional distributor. If you don’t have them, the equation above had better result in something closer to 1.5. 5. Do you have the ability to create awesome marketing material? Can you cut a great trailer? What about make a great poster? Your distributor will have contacts for that, but you may not, and that will make a huge difference in whether or not you should self-distribute. 6. Would you rather market this movie than make the next one? This point is subjective. If you’d rather continue to market your film than make the next one, then by all means, self-distribute. If you’d rather put your energy into making the next one, then it probably makes more sense to work with some partners like sales agents and distributors. If you’re looking for those partners, I might be able to help. Just click the submit button below. For more tools and information on film distribution, you should grab my free film resource package. You’ll get a FREE e-book on the business of indiefilm, digests on the film business segmented by topic, as well as free templates to streamline financing, marketing, and distribution. Plus, you’ll get all the latest on Guerrilla Rep Media releases and occasional special offers and discounts. Check it out below! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 9 Things I Learned from my First Theatrical Release Every filmmaker wants to see their work on the big screen, but there’s a lot more to it than you may think. Here’s what I learned the first time I played a key role in a theatrical release.. We recently came to the close of the theatrical release of Rockhaven Film’s Goodland. It played in a total of 7 cities. This was the first time I’ve been a key part of making a theatrical release work, so I wanted to share some of what I learned along the way. So here it is 9 things I learned from my first theatrical release. 1. Booking theaters is both expensive and time-consuming I tried booking a theater here in San Francisco, but in the end, I was unsuccessful. The only theater that really got back to us would only show the film on a rental, not a revenue share. We didn’t pay any of the other theaters, and we weren’t going to start in San Francisco. If we had paid them, it would have been a bit over 2,000 for 9 showings in a week. It is possible to get some films in there on revenue share alone, but if you do you often must give up the first 2-3,000 in sales directly to the theater, and generally, that’s about all you’ll make from a screen unless you can really pound the pavement and get press coverage. 2. Book local theaters, New York, and Los Angeles first. This contradicts some of what I just said, but when you’re getting started, the first theaters you need to book are New York, Los Angeles, and perhaps the screen most local to the filmmakers. New York and LA get you more press coverage and give legitimacy to your theatrical run. The local screen is generally the easiest to book. 3. You don’t always need a full week’s run. We only did 3 screenings in Buffalo, NY, but we still got a decent amount of press and a good amount of social media attention. Doing 1-3 screenings in a market makes it feel more like an event, and is a great way to build word of mouth about your film. Even if you can’t book a full week, consider booking a few one-night-only engagements to boost your presence in markets across the country. 4. Often, 1-2 shows a day is easier to sell. We had 3-5 screenings a day in Kansas City, and it was difficult to drive traffic to any one particular screening. That includes the screenings we had with Q&As after them. If you focus on one individual showing a day, it’s easier to focus your marketing efforts, and get those butts in seats for an indie movie. 5. Fewer theaters are independently owned than you think In attempting to book theaters in San Francisco, I found that only a few local theaters were independently owned. More theaters than you think are owned by mega chains like AMC, Cinemark, United Artists, and Landmark. If you’re dealing with these mega-chains, you’re likely going to have to deal with their buyers. Generally, those buyers will only want to deal with distributors. 6. Once a theater is booked you can still get bumped unless you paid the rental fee. We booked a screen in New York for the same day we opened in LA. Unfortunately, we were bumped because Avengers, Infinity War outperformed expectations. If possible, don’t try to book your indie in May, June, July, August, November, or December. That’s when Hollywood will be very likely to bump you. 7. Keep Making Noise to fill seats Once you get your theaters booked, you’re still going to have to drive local people to theaters. The most cost-effective ways to do this are via local press coverage and social media. The two work very well together. Keep your audience engaged by sharing news on your facebook page, twitter, and Instagram whenever there’s news to be had. Related: 5 Dos and Don'ts for Marketing your Movie on Social Media 8. Press coverage is key: Local Press can be very cliquey. Local Press coverage is among the best ways to drive traffic to your movie. However, it can be difficult to get. It should surprise precisely no-one reading this list that some film scenes are very cliquey, and some of those people from the film scenes end up in positions of power at general press outlets. They may not cover your movie just because you’re not one of the cool kids. It sucks, but it is what it is. It would be difficult to change their mind, so just move on to other outlets if that’s what you’re running up against. 9. In the end, if you've made ANY money you've done well. Finally, there’s not really a lot of money in theatrical runs themselves. There is a lot of additional money to be had in having had a theatrical release. If you end up getting beyond your distributor’s recoupable expenses, you’ve done VERY well. The additional money you’ve gotten from these outlets is likely to have a marked impact on your TVOD sales and your SVOD sales price. I might be making some announcements about how that worked for Goodland on our Facebook page, soon. I hope this was helpful to building your indie film career. If you’re embarking on your own journey through distribution, you should make sure to grab my FREE indie film resource package. It’s got lots of templates to help you talk to distributors, tools to help you raise funding and even exclusive money-saving resources. Check out the tags below for more related content Read More Why Exclusivity is GOOD for Filmmakers A lot of filmmakers are afraid to give up exclusive distritbution or sales rights out of fear of loss. Unfortunately, such a mindset all but guarantees loss of revenue. Here’s why. In closing contracts, one question I get asked a lot is why distributors, sales agents, and producer’s reps need exclusivity when we do our jobs. Sometimes, this question even comes from the lawyers of my clients. I understand there is risk when giving someone the exclusive right to represent your project, so I thought I would write up a blog post examining exactly why we need exclusivity. Generally speaking, the goal is not to tie up your rights and make it so you can’t do anything with them. There are lots of other reasons why sales agents or producer’s reps need exclusivity. To truly understand the need for exclusivity, one must first understand the nature of our business. We deal in the buying and selling of rights to infinitely replicate content. If something can be infinitely replicated, the only way to ensure it's value is to control who has the right to produce it, or to authorize others to replicate the content. I can guarantee you that any sales agent you would actually want to work with will require exclusivity at least for international. If you try to negotiate their exclusivity out of a contract, I can guarantee you will not be successful. It's the nature of the business. In fact, if you try to negotiate too much to be non-exclusive, then you’ll likely just end up scaring off the sales agent. Buyers want exclusivity, and if the sales agency doesn't have exclusivity, then they can't sell it to the buyer. Producer's reps have less necessity for this normally, but if they work directly with domestic buyers, then they will generally need exclusive rights for similar reasons to why a sales agent needs exclusivity to sell international rights. As a more practical example, let's say that two sales agents each have the right to sell your film. There are a lot of territories for which only a few buyers come to the market. There's a good chance that the sales agents would both know these buyers. If the buyer can buy it in one of two places, then the two sales agents will just undercut each other to make the sale, and the filmmaker ends up hurt. Giving Sales Agents exclusivity actually protects the filmmaker, if the deal is done properly. Further, almost all license fees and deals with a minimum guarantee require exclusivity. The buyer doesn't want to pay good money for a film, only to have it air on the competition's channel or platform at the same time. Of course, if you're looking at Transactional VOD, this is not really the case, but those deals generally don't pay up front. Also, that's essentially an aggregation deal. I'll admit, a producer's rep needs exclusivity less than a sales agent. Since most of what Producer’s Reps do often involves shopping the film to sales agents, so long as there's a lit of who I'm approaching that's separate from who you would be approaching, there's room to negotiate. However, since I act as a sales agent for North America, I at least need exclusive rights domestically for exactly the same reason. Also, to avoid issues, if you’re working with a producer’s rep non-exclusively, then you’ll need to list what companies that producer’s rep will handle. If you don’t, you could be in for a tricky legal battle down the line, in case multiple approaches are made to the same company. So I’d like to thank you for reading and say that I hope you found it helpful. If you did, you should grab my FREE Film Business Resource Package. It’s got a free e-book called The Entrepreneurial Producer to grow your filmmaking career, templates for investment decks, film festival brochures, and other money and time-saving resources. Check it out below. Check out more related content by clicking the tags below. Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 5 Reasons Traditional Film Distribution Still Matters to Indie Filmmakers A lot of Indie Filmmakers are all about Self Distribtuion to keep more money themselves. While it’s an understandable notion, it’s often counter-productive, here’s why. When you look at most of the other bloggers and podcasters talking about indie film distribution, a lot of them are very convinced that aggregators like Distribbr are the only solution that a Filmmaker needs. As a Producer’s Rep, I disagree. A good sales agent, distributor, or producer’s rep may each take a piece of the pie, but if they do their job well they’ll also make the pie significantly bigger, increasing the payout for all involved. Here are 5 reasons why a traditional distributor or sales agent is still a necessary partner. 1. Distribution and Marketing are their own Skillsets Unless you happen to have a background in marketing or a huge social media following, it’s not likely you’ll even make back the money you put into the aggregation fees. It’s a surprising amount of work to get the amount of money you need to pay back fees upwards of a thousand dollars to put the film on iTunes. Distributors also help market the film. It’s all they do, so they’re generally pretty good at it. (At least, if you get the right ones) In addition to cutting the costs of aggregation and paying them out of a recoupable expense, Sales agencies and distributors will also often put money into a publicist, social media ads, and other marketing expenditures that will help your film make more money for all involved. 2. It's generally No/Less Money Up Front If you use an aggregator or even a company like FilmHub or IndieRights, all marketing expenditures are on you. This includes posters, trailers, publicity, social media ads, and more. If it were me, I’d much rather give up a piece of the action to have someone else cover some of these costs up-front. 3. Not Every Avenue is Truly Open Without a Local Distributor No matter what people tell you, not every avenue is completely open to self-distribution. Theatrical is rare for most indie films, but unless you want to give up 90+% of the take, or pay a few thousand dollars per screen per week. pay a large amount of money to a platform or directly to theaters, you’re not getting into theaters. If you work with the right distributor, they MIGHT be able to book you some screens. I’ve helped in organizing several theatrical releases of up to 50 screens per film. The way we did it avoided paying up front. Filmmakers generally don’t have the specialized knowledge or relationships to make that happen. Further, other outlets most often won’t get you into Cable VOD, or SVOD other than Amazon rentals, even though they may claim they have the ability to. 4. Local Distributors Control Specialized Knowledge Do you have any idea how to localize a film for South Korea? What about Germany, Italy, or Mongolia? I’m a Producer’s rep, and while I might have an idea of who would buy any given film on a territory-by-territory basis, I couldn’t tell you how best to market a film in every country across the globe. That said, I do know people who do, and I know lots of people who can get it to the territories I can’t and I also know what they tend to pay for that content. Successfully selling a film internationally involves a lot of highly specialized skills most filmmakers simply do not possess. They’re the sort of skills that take decades to perfect. So if you want your film to be truly exportable, then you should consider working with some partners to help you capture the foreign market. 5. Marketing is Much More Effective with Multiple Partners. Multiple voices pushing your film will do a lot more than yours alone. Working with Producer’s Reps, International Sales Agents, and distributors will amplify your voice and help it rise above the white noise to really take your project to the next level. Without multiple experienced partners helping spread the word about your film, it can cost significantly more to raise awareness of your film. I get this is a lot. If you want to learn more about it, you should check out my FREE Indiefilm Resource Package. It includes an E-book, lots of form letters, tracking templates, and other templates to help you get in touch with traditional distributors, and a monthly blog digest that will help you better understand the industry and improve your knowledge base in a sustainable way. Check out the tags below for more, related content. Read More
4383	dbpedia	1	10	https://ca.news.yahoo.com/netflix-finland-aurora-jump-bordertown-072006801.html%3Fsrc%3Drss	en	Netflix, Finland’s Aurora Jump Into ‘Bordertown – The Mural Murders’ (EXCLUSIVE)	https://media.zenfs.com/en/variety.com/183025e7491eb08b844f652876bdac56	https://media.zenfs.com/en/variety.com/183025e7491eb08b844f652876bdac56	[ "https://ca.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-CA-en-CA-def%2Cseamless&code=pageRender&device=desktop&lang=en-CA&pageName=deeplink&region=CA&rid=7he76npjbp0q3&site=news&t=1723630403509", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/ny/api/res/1.2/dLmEnG1BZNFPj.BqrGG4pg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEzMjtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2020-12/099d6ae0-3433-11eb-9fad-8b9f471beb92", "https://s.yimg.com/ny/api/res/1.2/mxNH7nUeV78GSDOvkeBGLg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyNDI7aD02OTk-/https://media.zenfs.com/en/variety.com/183025e7491eb08b844f652876bdac56", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197793610&c7=https%3A%2F%2Fca.news.yahoo.com%2Fnetflix-finland-aurora-jump-bordertown-072006801.html%253Fsrc%253Drss&c14=-1" ]	[]	[]	[ "" ]	null	[ "Elsa Keslassy" ]	2020-09-25T07:20:06+00:00	Netflix has acquired the Finnish movie "Bordertown – The Mural Murders," a spinoff of the popular Nordic crime series which is now in its third season. Produced by Matti Halonen and Johannes Lassila at Fisher King, "Bordertown – The Mural Murders" will start shooting next month and will be released theatrically in Finland by the […]	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.yahoo.com/entertainment/netflix-finland-aurora-jump-bordertown-072006801.html	Netflix has acquired the Finnish movie “Bordertown – The Mural Murders,” a spinoff of the popular Nordic crime series which is now in its third season. Produced by Matti Halonen and Johannes Lassila at Fisher King, “Bordertown – The Mural Murders” will start shooting next month and will be released theatrically in Finland by the newly-launched distribution banner Aurora Studios. Netflix has global rights to the movie outside of Finland. The movie brings back “Bordertown”‘s key cast, Ville Virtanen, Anu Sinisalo and Sampo Sarkola. The screenplay is written by Miikko Oikkonen and Antti Pesonen, and Juuso Syrjä will direct. The plot of the movie follows brilliant police investigator Kari Sorjonen chasing his arch enemy Lasse Maasalo. The movie is set against the backdrop of a social media voting contest in which people have voted on without whom the country would be better off. When three of the most-voted people disappear, Sorjonen is asked to come back to work to investigate the hate crimes. “We are extremely excited to launch to movie theaters the award-winning and critically acclaimed Bordertown, which has been one of the top Nordic noir IPs,” said Antti Toiviainen, the CEO of Aurora Studios. Matti Halonen, the Executive Producer of the film at Fisher King, said ”Bordertown is a big audience movie, and Aurora Studios is going for a nationwide theatrical release in autumn 2021.” “It is also truly excellent that we have signed a worldwide distribution agreement with Netflix which means that probably for the first time ever, a Finnish-language film will be shown all over the world, from US to Australia,” added Halonen. The filming of “Bordertown – The Mural Murders” will take place in and around Helsinki, the capital of Finland, under strict sanitary guidelines. “Bordertown – The Mural Murders” is financed by Yle, Netflix, Aurora Studios, Business Finland and the Finnish Film Foundation. More from Variety How Reality Hits Like 'Survivor,' 'The Circle' and 'Love Is Blind' Inspired Online Role-Playing Games During the Pandemic 'Cuties' Controversy: Surge in Netflix Cancellations Was Short-Lived, Data Shows TV News Roundup: Netflix Debuts 'The Queen's Gambit' Trailer Best of Variety The Best Comedies on Netflix to Watch Right Now Everything Coming to Netflix in September What's Coming to Disney Plus in September 2020
4383	dbpedia	2	12	https://be.linkedin.com/company/tfip	en	Think-Film Impact Production	https://media.licdn.com/dms/image/v2/D4E0BAQHI4TAaBimA0g/company-logo_200_200/company-logo_200_200/0/1690463564085/tfip_logo?e=2147483647&v=beta&t=aZEEY6ktVr8I3VDiUFM9pLdGsA3ZsZ3viIS-GFek_B8	https://media.licdn.com/dms/image/v2/D4E0BAQHI4TAaBimA0g/company-logo_200_200/company-logo_200_200/0/1690463564085/tfip_logo?e=2147483647&v=beta&t=aZEEY6ktVr8I3VDiUFM9pLdGsA3ZsZ3viIS-GFek_B8	[ "https://media.licdn.com/dms/image/v2/D4E3DAQETyLsyGN69Jg/image-scale_191_1128/image-scale_191_1128/0/1690463785046/tfip_cover?e=2147483647&v=beta&t=HpZ5MHJGbrwO35h_Fffg98YF3Vwzujcv8VfyqJ9mJf4" ]	[]	[]	[ "" ]	null	[]	null	Think-Film Impact Production \| 1,386 followers on LinkedIn. At the cutting-edge intersection of film and social change \| Think-Film Impact Production (TFIP) is a creative impact consultancy that explores innovative ways to merge the worlds of film and policy. We harness the power of 2D film, Virtual Reality (VR) and Augmented Reality (AR) to enrich and amplify compelling socio-political narratives. TFIP partners with established and emerging filmmakers to produce and promote feature films, documentaries and VR/AR experiences that address social and political issues.	en	https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca		https://be.linkedin.com/company/tfip	THE POWER OF IMPACT FILM. Join us at our inspiring panel to explore how films can create lasting impact and legacy, feat. award-winning film "Samia", based on the true story of a young Somali runner who pursues her dream of becoming an Olympic athlete despite the odds against her. This is the first in our series of events at Venice Film Festival, stay tuned for more exciting updates! The Human Safety Net, Impact Europe, Misan Sagay, Yasemin Şamdereli, isabelle giordano, Amy Shepherd, Anadil Hossain, Emma Ursich, INDYCA, NEW MOON Films, Fondazione La Biennale di Venezia It has been an amazing week at Sarajevo Film Festival with so many impact moments from inspiring panels to the presentation of our Impact Jury Award! 1. This year's #CineLink Impact Jury Award, in the Docu Rough Cut Boutique and CineLink Works in Progress category, was awarded to #DIVIA. We chose this film for its artistic beauty and unique impact angle of environmental destruction in the context of war crimes in Ukraine. Stay tuned for updates on the impact campaign! 2. Our Founder Danielle Turkov Wilson spoke on a panel of inspiring leading women in the industry with Misan Sagay, Tamara Tatishvili, Una Gunjak and Mia Avdagic asking how we can foster a more inclusive and supportive community in Film and TV. 3. We were invited to the British Ambassador's event celebrating 30 years of the #SarajevoFilmFestival. XTR, Matthew Cherchio, Tribeca, Faridah Gbadamosi, UP UA STUDIO, Polina Herman OZI: VOICE OF THE FOREST shows the power of one voice to make a difference - I'm using my voice to join the call to #RestoreNatureNOW! We must act to protect the world around us for future generations. Be inspired by Ozi! What are you raising your voice for? In UK cinemas now, get tickets here: https://bit.ly/ThinkOziTix #ozimovie #showyourstripes Signature Entertainment UK ClientEarth Mighty Earth WWF-UK Global Canopy The Carbon Literacy Project Wildlife and Countryside Link Friends of the Earth Rainforest Foundation UK Rainforest Action Network The Wildlife Trusts National Trust Extinction Rebellion Chris Packham Jack Harries We are pleased to finally announce the Jury for our VENICE IMPACT AWARD 2024! The Venice Biennale Impact Award honours a film in the festival’s official selection that through its art and storytelling has the greatest potential to have a transformative impact on society. This year we are honoured to be joined by an incredible group of impact storytellers: - Chiwetel Ejiofor (12 YEARS A SLAVE) - Adjoa Andoh (BRIDGERTON) - Mstyslav Chernov (20 DAYS IN MARIUPOL) - Misan Sagay (BELLE) - Alia Shawkat (BLINK TWICE, SEARCH PARTY) Thank you to Impact Europe for co-sponsoring the Impact Award. Fondazione La Biennale di Venezia Read Screen International's article here: https://lnkd.in/e5CaX4SV We are very excited to announce the promotion in our team of Ugne Pilkionyte to the role of Project Manager! Ugne has been leading at the forefront of our impact success over the past year, here are some of her highlights: ARTE series OUR FORESTS impact campaign, mobilising stakeholders in a joint letter and EU Parliament impact screening event calling for better protection of Indigenous and local communities in the Corporate Sustainability Due Diligence Directive. Marché du Film - Festival de Cannes : high-powered industry conversations on women’s representation in film (with L’oeil d’or winner BRINK OF DREAMS), mental health (with MTV Entertainment), and the future of democracy with documentary directors. Fondazione La Biennale di Venezia : Preparation for the Venice IMPACT AWARD 2nd edition with an international talent jury (soon to be announced!). Duemila, WEMW, ESODOC, Marché du Film - Festival de Cannes workshops and masterclasses on impact production. We’re looking forward to the season ahead as Ugne steps up into her new role overseeing action delivery on our impact slate and ensuring we continue to meet our objective of achieving measurable, lasting change with creatively compelling artistic projects! IMPACT FOR THE WIN! We're so proud to partner with films that are winning awards and making waves! Tribeca Best Documentary Feature : HACKING HATE - unveils the dark web of far-right hate online Tribeca Special Jury Mention for International Narrative Feature : SAMIA - fiction based on the story of courageous Somali Olympic runner Samia Yusuf Omar Doc Edge Special Jury Mention for Best International Feature : INVISIBLE NATION - following Taiwan’s first female President Tsai Ing-wen as she champions her country’s democracy and freedom Doc Edge Impact Award : DEVI - one woman’s fight to survive and see justice for sexual violence in Nepal Incredible premieres and more on impact to follow! My Vingren Norsk filminstitutt Swedish Film Institute NEW MOON Films INDYCA Yasemin Şamdereli International Rescue Committee United Nations Department of Economic and Social Affairs Nike Better World Fund The Human Safety Net Paris 2024 - Comité d'organisation des Jeux Olympiques et Paralympiques de 2024 Ted Hope Vanessa Hope Ivan Orlic Seine Pictures #Taiwan Subina Shrestha Rosie Garthwaite Reem Alsalem Pramila Patten #CRSV An intimate story of one woman's fight for justice and reparations, Devi Khadka inspires and leads other women survivors of wartime rape to challenge the leaders of Nepal and expose the shameful truth about how sex abuse was used as a weapon of war. New documentary DEVI follows her story as she leads a grassroots movement pressuring the Nepal government to follow through on transitional justice commitments and shines a vital spotlight on Conflict-Related Sexual Violence (CRSV) survivors in Nepal and worldwide. In 2022, Think-Film platformed Devi on an international stage at the major Preventing Sexual Violence in Conflict Conference (PSVI) in London where she gave a keynote address to a room of policymakers and civil society. We also secured her testimony as the first-ever entry from Nepal in the UN Digital Book "Voices of Survivors of Conflict-Related Sexual Violence and Service-Providers", bringing Nepal back into the conversation. This #InternationalDayForTheEliminationOfSexualViolenceInConflict, we stand in solidarity with Devi Khadka in her mission to pursue justice for all wartime rape survivors in Nepal. DEVI resonated strongly with audiences in Canada, becoming a Top 20 Audience Favourite at Hot Docs Canadian International Documentary Festival. The film is now coming to New Zealand's Doc Edge film festival! Don't miss this incredible film and get your tickets here: https://lnkd.in/e7txQpHa Watch the trailer here: https://lnkd.in/e6rxy5Ud UN Digital Book here: https://lnkd.in/evtX9_ih Rosie Garthwaite Subina Shrestha #DeviDoc
4383	dbpedia	2	69	https://culture360.asef.org/insights/tequila-journey-digital-filmmaking-and-distribution/	en	Tequila: A Journey In Digital Filmmaking And Distribution	https://culture360.asef.…avicon-32x32.png	https://culture360.asef.…avicon-32x32.png	[ "https://culture360.asef.org/static/img/Culture360_logo_2018.png", "https://culture360.asef.org/media/__sized__/2015/3/Slide1-800x546-crop-c0-5__0-5-200x200-80.jpg", "https://culture360.asef.org/media/banners/Newsletter_Banner_FA.jpg", "https://culture360.asef.org/media/banners/Newsletter_Banner_FA_1.jpg", "https://culture360.asef.org/media/2019/03/EU_flag_yellow_HR.jpg" ]	[]	[]	[ "Film", "Singapore" ]	null	[]	null	Producer Holman Chin takes us behind the scenes of the brand new Singapore digital feature, Tequila	en	/static/img/icons/apple-touch-icon.png	ASEF culture360	http://culture360.asef.org/insights/tequila-journey-digital-filmmaking-and-distribution/	Insights > Tequila: A Journey In Digital Filmmaking And Distribution By Kerrine Goh 01 Oct 2004 Tequila: A Journey In Digital Filmmaking And Distribution So you think you have a hot script that needs to be made into a film? You're in luck. Welcome to the digital revolution. While Hollywood studios have been steadily churning out glossy blockbuster flicks that have budgets upwards of USD$200 million (the GDP of a not so small country), a growing number of independents are producing quality movies for a mere fraction. In the past, the odds were incredibly stacked against would-be filmmakers when faced with the staggering costs of shooting on film and the lengthy postproduction process. Today, with affordable digital technology and user-friendly PC editing software, a film can be produced for as little as the tape cost. Granted, digital video is still nowhere as robust as film and often retains an amateurish “home movie” feel. But, the differences can be overcome with professional lighting techniques, special filters, and heavy color saturation in post. Digital video has opened up overwhelming possibilities in an otherwise closed industry. Our story began in late 2002 when director, Jonathan Lim, approached me with a rough script about four friends who test the “true” meaning of friendship. Ironically, it was based on a collection of personal life experiences involving his immediate friends. In fact, he hadn't even changed the names of the scripted characters and was hoping to cast them as themselves. Several re-writes later, the 20-minute short somehow grew into an 82-minute feature called Tequila . Shot exclusively, on digital video (Sony PD150) and on a shoestring budget, Tequila was an altogether different experience from the short films we had previously shot. Making a feature felt like running a marathon; it required extreme discipline, redundant pre-planning, and lots of tough love. One shouldn't take for granted the luxury of doing infinite retakes on DV; focus on getting it right the first time! Our record number of retakes for a single scene was 39. Only Jonathan's tireless passion helped guide the cast and crew through many long nights of filming and an equally long postproduction. In the spring of 2004, Tequila was finally done and we cried. But now we had to figure out what to do with it. As a small independent production, our marketing strategy was limited by our budget. Bypassing traditional film marketing methods, we adopted a guerilla style of film marketing and distribution, using every means from international digital video/Asian film festivals to Internet chat boards to word of mouth. The traditional theatrical release just didn't make sense given that the cost of the film print and theatrical advertising exceeded the film production cost by fourfold. For independent filmmakers, there are currently many new and exciting channels of distribution to have your film to be seen. You just need to be creative, diligent, and resourceful. Gradually, we approached a few big local distributors in Singapore. Though helpful, they were overwhelmed with the distribution of Hollywood blockbuster titles. Understandably, it didn't make economic sense for them to take on a small independent film. So we decided to do it the hard way and build our own distribution network, knocking door to door and meeting with the retail outlets individually. The process is slow and tedious but rewarding. Thus far, a number of retail outlets such as HMV have agreed to stock the DVD pending approval by the Singapore censorship board (which is another story unto itself). Internationally, we have engaged a number of foreign distributors who will be selling the film in Asian and US territories. Incredibly, a few hundred copies of Tequila have already been sold internationally via the Tequila website (www.tequilathemovie.com). Says Jonathan Lim, “We didn't know what to expect but found that if your marketing is creative and targeted, people will be interested in your product.” Two independent US film companies, InDigEnt and Think Film have been key sources of inspiration. Following the success of Tadpole , Tape , and Personal Velocity , InDigEnt has continued to produce critically acclaimed digital cinema using well-known actors such as Ethan Hawke, Uma Thurman, and Sigourney Weaver. Similarly, Think Film has produced the celebrated documentary, Spellbound , and the period piece, Bright Young Things . As independent film producers, we believe the formula for success is simple: good story/acting, strong distribution, and creative marketing. Given the groundbreaking advances in film technology and the dynamic resolve of filmmakers, the future of filmmaking has never been so promising. Holman Chin is a producer for Crimson Forest Films, which was created in 2002 with an objective of producing high quality films with no creative or financial restrictions. He is also a freelance writer for various publications and projects. For more information, contact: email: holmanchin@crimsonforestfilms.com website: www.crimsonforestfilms.com or www.tequilathemovie.com Similar content
4383	dbpedia	3	7	https://hollywood-elsewhere.com/capitol-buys-th/	en	Capitol buys ThinkFilm – Hollywood Elsewhere	https://hollywood-elsewh…300x250ALTC.jpeg		[ "https://hollywood-elsewhere.com/wp-content/uploads/2017/05/elsenew-4.png", "https://hollywood-elsewhere.com/wp-content/uploads/2023/12/HE-20th-728x90C.jpeg", "https://hollywood-elsewhere.com/wp-content/themes/amory/patreon-banner.jpg", "https://hollywood-elsewhere.com/wp-content/uploads/2023/12/HE-20th-300x250ALTC.jpeg", "https://hollywood-elsewhere.com/wp-content/uploads/2023/12/HE-20th-300x600C.jpeg", "https://hollywood-elsewhere.com/wp-content/uploads/2024/07/Screen-Shot-2024-07-03-at-4.56.06-PM-419x300.png", "https://hollywood-elsewhere.com/wp-content/uploads/2024/06/Screen-Shot-2024-06-09-at-8.07.53-PM-460x293.png", "https://hollywood-elsewhere.com/wp-content/uploads/2024/06/Screen-Shot-2024-06-09-at-9.05.08-PM-396x300.png", "https://placehold.it/45x45/f0f0f0/ccc", "https://hollywood-elsewhere.com/wp-content/uploads/2024/07/Screen-Shot-2024-07-03-at-7.07.27-PM-425x300.png", "https://hollywood-elsewhere.com/wp-content/uploads/2024/06/Screen-Shot-2024-06-02-at-1.35.52-PM-454x300.png", "https://hollywood-elsewhere.com/wp-content/uploads/2023/12/HE-20th-300x600C.jpeg" ]	[]	[]	[ "" ]	null	[]	2024-07-03T13:14:50-07:00		en			https://hollywood-elsewhere.com/capitol-buys-th/	All the purchase of ThinkFilm by Capitol Films means is that L.A. entrepreneurs David Bergstein and Ron Tudor have now expanded their way into the U.S. indie film distribution scene, having already established themselves in England by owning the U.K.-based Capitol Films. (Oddly, Capitol has Bordertown, that crackling Jennifer Lopez drama about the unsolved Juarez murders that no one will pick up, on its website — kind of an industry advertisement that says “we pick up shit nobody else wants!”) The upshot is that ThinkFilm (which will hang onto its name and retain all of its staffers) will now have more money to be more competitive with. Capitol also holds rights to the recently-wrapped Sidney Lumet drama Before the Devil Knows You’re Dead, which has no U.S. distributor.
4383	dbpedia	2	28	https://www.billboard.com/music/music-news/new-line-to-distribute-thinkfilm-1429681/	en	New Line To Distribute THINKFilm	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Billboard Staff" ]	2004-08-30T04:00:00+00:00	New Line Home Entertainment has entered into a multi-picture distribution deal with independent film company THINKFilm.	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/music-news/new-line-to-distribute-thinkfilm-1429681/	New Line Home Entertainment has entered into a multi-picture distribution deal with independent film company THINKFilm. New Line will have U.S. distribution rights to THINKFilm projects that include “The Story of the Weeping Camel,” “The Agronomist” and “Bright Young Things.” The first title under the deal is “Festival Express,” a rockumentary detailing the 1970 Festival Express concert that featured the Grateful Dead, Buddy Guy, the Flying Burrito Brothers, Janis Joplin, the Band and many others. The two-disc DVD ($24.98) will be released Oct. 5. Extra features include 50 minutes of previously unseen footage, interviews with tour participants and a featurette on the making of the film.
4383	dbpedia	3	33	https://www.documentary.org/feature/ill-take-manhattan-new-york-city-doc-central-distributors-you-gotta-problem	en	I'll Take Manhattan: New York City is Doc Central for Distributors--You Gotta Problem with That?	https://www.documentary.org/themes/custom/ida_bootstrap_sass/images/favicon.ico	https://www.documentary.org/themes/custom/ida_bootstrap_sass/images/favicon.ico	[ "https://www.documentary.org/sites/default/files/styles/large/public/2024-01/Documentary%20Magazine%20Logo.png?itok=kWOsFPqk", "https://www.documentary.org/sites/default/files/inline-images/Media%20Kit%202024%20-%20MH%20Master%20Template%20-%20DO%20NOT%20USE_0.png" ]	[]	[]	[ "IDA", "International Documentary Association", "documentary", "documentary magazine", "magazine", "independent film", "documentary film" ]	null	[]	2024-07-24T08:34:28-07:00	Is New York City really the center of independent documentary filmmaking, or does it just seem that way?Short answer: it is. Sorry, to those of you (myself included) who are Angelenos.	en	/themes/custom/ida_bootstrap_sass/images/favicon.ico	International Documentary Association	https://www.documentary.org/feature/ill-take-manhattan-new-york-city-doc-central-distributors-you-gotta-problem	Is New York City really the center of independent documentary filmmaking, or does it just seem that way? Short answer: it is. Sorry, to those of you (myself included) who are Angelenos. If you're interested in co-producing, financing and distributing independent documentary films, most independent film distribution companies, big and small, studio-financed or actually independent, are based in New York City. And unlike the studios, where heads of distribution can change over a weekend, many of these companies, like New Yorker Films, Sony Pictures Classics and First Run Features, have had remarkably stable management for years. "Any independent film company that has lasted has been minimally bicoastal, if not completely headquartered in New York," says Mark Urman, vice president of THINKFilm. So what is it about New York?" New York is where the most prestigious theaters in the country are," says Dan Talbot, founder of New Yorker Films, a company that has called New York its home since 1965. "These meaningful theaters generally are the platforms for films that are opening, and exhibitors around the country watch what happens here and make decisions based on that." Talbot also owns Lincoln Plaza Theaters, one of those cinemas that exhibitors and critics watch. "Many films were very successful as a result of their launch at the Lincoln Plaza ," says Talbot. "One of those was My Architect, which New Yorker Films distributed." It's no secret that successful theatrical independent films depend on critics and good reviews. Since New York is arguably the media center of the country, that's where many of the important critics are based. New York also has a long history of being much more supportive of art house films than Los Angeles, with prestigious venues such as Film Forum, Angelika Film Center, MoMA and the New York Film Festival. And, after all, New York (well, nearby New Jersey, actually) is where the film industry began in this country. "New York is the cultural capital of the country, if not the continent, if not the world," says Urman. "It's just more fertile for ideas, creativity and creating a sense of community. Since film is a collaborative medium, those people who want to make film independently can form a bond and, in that Mickey Rooney and Judy Garland way, get together and put on a show." Vanessa Arteaga, senior programming and production executive at Wellspring, believes that the concentration of theater in New York has played a major role. "In New York , we have inherently a theater culture," she says. "My sense is that the independent film culture has thrived more in New York than LA as a result of immediate access to the theater world." There's also another major difference: Los Angeles is dominated by one industry--or two, if you count the music industry--while New York most definitely is not. "In Los Angeles , there's so many people who want to connect," explains Urman. "There's a lot of pruning that takes place the further east you goby the time you get to New York, all of that filmmaking kudzu is hacked away, and you only have the strong and productive branches left." But if you are now packing your bags to move to the big city in order to do documentaries, hold on. "Our filmmakers are spread out all over the country and the world," says Marc Mauceri, vice president of First Run Features. "New York might have the biggest number of filmmakers that we represent, but Los Angeles is actually pretty close--also the Bay Area, Boston and other cities." Urman has had filmmakers based in Paris, Brazil, Budapest and Los Angeles. Besides filmmakers, there are many distributors in other cities. "With all the new means of communications, you can be anywhere," says Talbot. "You can distribute films from Alaska." Thanks to films like Fahrenheit 9/11, Super Size Me and March of the Penguins, theatrical documentaries are hotter than ever--and big money is now being made. How is the business changing, and is focus shifting away from New York as the decision-making center? "To watch a studio get involved in a film like Fahrenheit 9/11, and actually have the juice to get it to gross over $100 million was amazing," says Mauceri. "That has forever changed the landscape of documentary film distribution." The success of documentaries and nonfiction film during the summer of 2005, usually the studio blockbuster season, has not gone unnoticed. "Now there are fiction films that fold after a week or so," says Talbot. "That's a big difference. Documentaries have become very popular with audiences." It's a change that's happening all over the world. "We've found that we've been able to do significant business, big money, on international sales for both Murderball and Aristocrats," says Urman. "France now has a very viable theatrical market with big box-office hits, and there's more and more in the UK . I think people are surprised at how the audience overseas for documentaries is expanding." The rise of the DVD has also helped. "There's a much bigger market for DVD sales, and there are also many more options for documentaries to be sold to television," says Mauceri. The fact that there is money to be made in documentaries has significantly impacted the independent distributors. First and foremost, there's much more competition. "It seems like every time you turn around, there's a new distribution company announcing a slate of films," says Mauceri. "Smaller, specialty films like documentaries get a good buzz at Sundance and then you read in the trades that they sold for millions of dollars; that wasn't happening too much ten years ago." The rise of studio specialty divisions, and independent film companies that grow into studios, has been controversial in the community. "There are now different tiers of independent filmmaking, and it's like, which one is more authentic?" says Arteaga. The interaction between distributor and filmmaker has also changed. "Filmmakers now have sales agents," says Talbot. "They prowl around all the festivals, they use auction techniques, and they try to stick their fingers into the distributor's pocket. However, this allows filmmakers to make more money, which they need to make more films." But big money does not necessarily translate into big success. "Every week, there's some film, acquired for a lot of money and with a ton of hype, that fails, while smaller films just do sensationally," says Mauceri. "I love that. There's still room for skillful intuition, good guessing and applied wisdom." Urman firmly believes that the interest in independent film and documentaries is just making films better. "When filmmakers know that their films can exist in the culture over the course of six months or a year, and that there can be many lives for the movie, including broadcast and DVD, they're going to speak with more subtlety," says Urman. "They bite off more from the onset, they get more ambitious, in part because they have more money at their disposal." But will all of this change the historical emphasis on New York City ? Not a chance. Everyone agrees that most serious art house distributors will remain based in New York, because certain things are not changing--the deep entrenchment of independent filmmaking in New York, the location of the critics, the theaters and a huge audience that supports and adores independent documentaries. Another thing that will not change is a passionate interest by independent film distributors in documentaries that reflect on the human experience. THINKFilm is releasing Protocols of Zion, made by award-winning filmmaker Marc Levin, about anti-Semitism. "But instead of being a cool, detached, researched, informational, old-style documentary, it's Mr. Marc Levin on camera, schlepping around New York, asking people if they've heard of this anti-Semitic book and why they hate Jews," says Urman. "The film is alarming, and important, and completely personal." New this fall from First Run Features is One Bright Shining Moment, from writer/director/producer Stephen Vittoria, about George McGovern's bold and grassroots 1972 presidential campaign. New Yorker Films is releasing After Innocence, directed by Jessica Sanders, which follows wrongfully convicted men freed by DNA evidence after decades in prison, as they struggle to transition back into society. "I don't know of any other film that deals with this subject yet," says Talbot. "These men deal with the variety of feelings of having been incarcerated for years." Talbot is also contributing to a book for the 20th anniversary of Shoah, the landmark documentary released in 1985 about the Holocaust. "Over 10 million people saw that film on PBS," says Talbot. "It's one of the achievements of my career." The next Wellspring release is Unknown White Male in February 2006, directed by Rupert Murray. This documentary is the true story of Doug Bruce, who woke up on Coney Island with no memory of any day of his entire life. Andrea Van Hook is a freelance writer who has worked in the film and television industry for over 15 years, at independent production companies and cable networks. More Players in the Neighborhood In addition to the aforementioned theatrical distributors, a host of others, large and small, abound in The Big Apple. Sony Pictures Classics (www.sonyclassics.com), cited above, was founded in 1992 as an autonomous entity of LA-based Sony Pictures Entertainment. Its presidents, Michael Barker, Tom Bernard and Marcie Bloom, have worked together since the early 1980s, previously at Orion Classics and United Artists Classics. Among the documentaries in the Sony catalogue include Errol Morris' The Fog of War and Fast, Cheap and Out of Control; Stacy Peralta's Dogtown and Z-Boys and Riding Giants; Jacques Perrin's Winged Migration; Rob Epstein and Jeffrey Friedman's The Celluloid Closet; and Terry Zwigoff's Crumb. Coming out in 2006 are two award-winning films from the '05 Sundance Film Festival: Eugene Jarecki's Why We Fight (January) and Jeff Feuerzeig's The Devil and Daniel Johnston (March). Magnolia Pictures (www.magpictures.com) is a subsidiary of 2929 Entertainment, a conglomerate founded by Mark Cuban and Todd Wagner that includes Landmark Theatres, Rysher Entertainment, 2929 Productions and HDNet Films. Magnolia was launched in 2001 by Eamonn Bowles and Bill Banowsky and has distributed such docs as Capturing the Friedmans (Eugene Jarecki, dir./prod.; Marc Smerling, prod.), Control Room (Jehane Noujaim, dir.; Rosadel Varela, Hani Salama, prods.), Bukowski: Born into This (John Dullaghan, dir./prod.), Guerilla: The Taking of Patty Hearst (Robert Stone, dir./prod.), and most recently, Enron: The Smartest Guys in the Room (Alex Gibney, dir./prod., Jason Kliot, Susan Motamed, prods.). Zeitgeist Films (www.zeitgeistfilms.com), founded in 1988 by Nancy Gerstman and Emily Russo, is a relatively small company, but a feisty one. Its biggest box office success to date has been The Corporation (Mark Achbar, Jennifer Abbott, dirs.; Joel Bakan, wtr.), while other noteworthy docs in its collection include Kirby Dick's Chain Camera and, with Amy Ziering Kofman, Derrida; Agnès Varda's The Gleaners and I; Ulrike Koch's The Saltmen of Tibet; Nettie Wild's A Place Called Chiapas and Jim Shedden's Brakhage. Coming this fall are Dan Geller and Dayna Goldfine's Ballets Russes and Astra Taylor's iek! Palm Pictures (www.palmpictures.com) distinguishes itself as a hybrid of film and music divisions and is also the parent company of RES Media Group, which publishes RES magazine and produces RESfest. Chris Blackwell, the legendary music impresario whose Island Records label nurtured the careers of such artists as Bob Marley and the Wailers, Tom Waits and The Cranberries, founded Palm Pictures in 1998. Among its more celebrated docs include Doug Pray's Scratch, Ondi Timoner's DIG!, Mark Moormann's Tom Dowd & the Language of Music and Michael Tucker and Petra Epperlein's Gunner Palace. Coming up in December: Be Here to Love Me: A Film about Townes Van Zandt, from Margaret Brown. --Thomas White
4383	dbpedia	2	74	https://lightdox.com/	en	Lightdox	https://lightdox.com/wp-…ht-dox-32x32.png	https://lightdox.com/wp-…ht-dox-32x32.png	[]	[]	[]	[ "" ]	null	[]	null	Home of exclusive documentaries. Check out our newest releases!	en	https://lightdox.com/wp-…ht-dox-32x32.png		https://lightdox.com/	At the Door of the House Who Will Come Knocking by Maja Novaković Serbia, Bosnia and Herzegovina 84′ 2024 Marching in the Dark by Kinshuk Surjan Belgium, the Netherlands, India 108′, 52′ 2024 Intercepted by Oksana Karpovych Canada, France, Ukraine 93′ 2024 As the Tide Comes In by Juan Palacios Denmark 88′, 53′ 2023 Celebrating the World Premiere of AT THE DOOR OF THE HOUSE WHO WILL COME KNOCKING by Maja Novaković at Sheffield DocFest Maja Novaković’s stunning feature debut celebrated its World Premiere at the 31st edition Sheffield DocFest, where it won the Grand Jury Award in the… Lightdox at CPH:DOX 2024 Celebrating the World Premiere of MARCHING IN THE DARK by Kinshuk Surjan!… INTERCEPTED World Premiere at Berlinale We’re still buzzing from the emotions of celebrating the World Premiere of Oksana Karpovych’s powerful feature documentary INTERCEPTED at the Forum!… BYE BYE TIBERIAS by Lina Soualem Secures UK and Ireland Distribution We’re thrilled to share that T A P E collective has acquired the rights to Lina Soualem’s poignant feature documentary BYE BYE TIBERIAS for UK and Ireland…
4383	dbpedia	1	21	https://forum.beyond-beautiful.com/bordertown-reviews-and-sales-t5101-s75.html	en	Reviews and Sales	https://header.tapatalk-…png?v=1626105008	https://header.tapatalk-…png?v=1626105008	[ "https://d5nxst8fruw4z.cloudfront.net/atrk.gif?account=fdH3q1kx0820/9", "http://www.ezboard.com/images/emoticons/laugh.gif", "http://www.ezboard.com/images/emoticons/embarassed.gif", "http://extras.mnginteractive.com/live/media/site525/2007/0912/20070912_064353_lopez_200.jpg", "http://www.ezboard.com/images/emoticons/glasses.gif", "http://www.ezboard.com/images/emoticons/wink.gif", "http://beautiful962.dmc10.yuku.com/domainskins/bypass/img/smileys/happy.gif", "http://img167.imageshack.us/img167/8826/bordertownposter2kc9.jpg", "http://www.ezboard.com/images/emoticons/eyes.gif" ]	[]	[]	[ "" ]	null	[]	2007-09-12T04:44:00+00:00	lol.. why would i do that? if i could choose a bb'er to watch it with it would be loranloran, from memory that boy is fine	en	https://groups.tapatalk-cdn.com/static/image/favicon.ico	BBJLo	https://forum.beyond-beautiful.com/bordertown-reviews-and-sales-t5101-s75.html
4383	dbpedia	2	23	https://www.cbc.ca/news/entertainment/u-s-financier-buys-canadian-indie-distributor-thinkfilm-1.604880	en	U.S. financier buys Canadian indie distributor ThinkFilm	https://i.cbc.ca/1.47005…e-image-news.jpg	https://i.cbc.ca/1.47005…e-image-news.jpg	[ "https://www.cbc.ca/a/images/nojsimg.gif" ]	[]	[]	[ "" ]	null	[ "CBC Arts" ]	2006-10-25T16:34:00+00:00	Canadian film producer and distributor ThinkFilm, known for putting edgy and acclaimed indie productions such as Shortbus and Born Into Brothels into theatres, has been sold to a U.S. film financier.	en	/a/apple-touch-icon.png	CBC	https://www.cbc.ca/news/entertainment/u-s-financier-buys-canadian-indie-distributor-thinkfilm-1.604880	Canadian film producer and distributor ThinkFilm, known for putting edgy and acclaimed indie productions such as Shortbus and Born Into Brothels into theatres, has been sold to a U.S. film financier. The Canadian-based company announced the decision in a statement on Tuesday, adding that producer and financier David Bergstein had alsoalready purchased Capitol Films, a European production company that specializes in international projects. The two acquisitions will create a "formidable new force in the independent marketplace," ThinkFilm said. Financial details were not released. Jeff Sackman, ThinkFilm's Montreal-born president, CEO and founder, said the sale allows the company to remain based in Canada. "We're a Canadian-initiated company based in Canada but we decided to operate in the volatile waters of the U.S.," Sackman said in an interview. "This sale represents a reverse brain drain, in a way. It's a matter of nationalistic pride that I get to stay in Canada. I really didn't want to live in New York or L.A. and this proves you can be successful in this business and stay here, in a better country," said Sackman, a former Cineplex and Lionsgate Filmsexecutive. Established about five years ago, ThinkFilm has developed a name for itself as a Canadian success story, with multiple Academy Award nominations and one win in its young history. In addition to Shortbus and the 2005 best documentary Oscar-winner Born Into Brothels, ThinkFilm's credits include Where The Truth Lies andThe Assassination of Richard Nixon, the documentaries Murderball, The Aristocrats and Spellbound, cult films Strangers with Candy and Awesome: Iâ¦ Shot That, and recent titles Tideland, Half Nelson, Everything's Gone Green and Citizen Duane.
4383	dbpedia	3	80	https://filmmakermagazine.com/101600-27-movies-shot-on-35mm-released-in-2016/	en	~29 Movies Shot on 35mm Released In 2016	https://filmmakermagazin…ictureleader.jpg	https://filmmakermagazin…ictureleader.jpg	[ "https://filmmakermagazine.com/wp-content/themes/filmmaker/images/back.png", "https://filmmakermagazine.com/wp-content/themes/filmmaker/images/back.png", "https://filmmakermagazine.com/wp-content/uploads/2017/02/pictureleader.jpg 1240w, https://filmmakermagazine.com/wp-content/uploads/2017/02/pictureleader-768x432.jpg 768w, https://filmmakermagazine.com/wp-content/uploads/2017/02/pictureleader-1024x576.jpg 1024w, https://filmmakermagazine.com/wp-content/uploads/2017/02/pictureleader-213x120.jpg 213w", "https://filmmakermagazine.com/wp-content/uploads/2017/02/pictureleader.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/12/POOR-THINGS-fisheye-S-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/12/POOR-THINGS-fisheye-S-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/12/CREATOR-with-Sony-FX3-in-Thailand-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/12/CREATOR-with-Sony-FX3-in-Thailand-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/05/A110_04022054_C107-poster-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2023/05/A110_04022054_C107-poster-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2013/05/crowd-4-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2013/05/crowd-4-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2013/05/crowd-4-220x120.jpg", "https://filmmakermagazine.com/wp-content/uploads/2022/12/NotaPrettyPicture-220x120.jpeg 220w, https://filmmakermagazine.com/wp-content/uploads/2022/12/NotaPrettyPicture-380x206.jpeg 380w", "https://filmmakermagazine.com/wp-content/uploads/2022/12/NotaPrettyPicture-220x120.jpeg", "https://filmmakermagazine.com/wp-content/uploads/2013/05/rubined-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2013/05/rubined-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2013/05/rubined-220x120.jpg", "https://filmmakermagazine.com/wp-content/uploads/2014/03/damnnation-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2014/03/damnnation-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2014/03/damnnation-220x120.jpg", "https://filmmakermagazine.com/wp-content/plugins/cookie-law-info/legacy/public/images/logo-cookieyes.svg", "https://filmmakermagazine.com/wp-content/plugins/cookie-law-info/legacy/public/images/logo-cookieyes.svg" ]	[]	[]	[ "35mm" ]	null	[ "Vadim Rizov", "Scott Macaulay", "Erik Luers", "Randy Astle", "Brandon Harris", "David Leitner", "Joey Daoud" ]	2017-02-22T14:57:58-05:00	This is my third time rounding up the previous year's US theatrical releases shot in 35mm, and this year's number is substantively lower than ...	en	https://filmmakermagazine.com/wp-content/themes/filmmaker/images/favicon.ico	Filmmaker Magazine \| Publication with a focus on independent film, offering articles, links, and resources.	https://filmmakermagazine.com/101600-27-movies-shot-on-35mm-released-in-2016/	This is my third time rounding up the previous year’s US theatrical releases shot in 35mm, and this year’s number is substantively lower than 2014 (39) and 2015 (~64). This seems like an anomaly, not a permanent trend: following the high-profile push by J.J. Abrams et al. to force studios to pony up for a certain amount of Kodak celluloid for the forseeable future, the company seems solvent enough (and they’re bringing back Ektachrome!). Some celluloid regulars (Spielberg, Nolan, Abrams, Tarantino) sat the year out, while Woody Allen jumped to digital, and there are fewer straggler releases that were completed three or four years ago that were still shot on film. As usual, my tally does not account for exclusively 16mm-based productions or television production, but it’s worth noting that quite a number of countries — China, Australia, South Korea — seem to have eliminated the capacity for 35mm production and the vast majority of these films are big studio productions. And despite the studio’s commitment to celluloid, the post-end has become increasingly tricky, with both skills and basic supplies diminishing. The first 35mm-based release this year was Philippe Garrel’s In the Shadow of Women, which is entirely appropriate; Garrel is a lifelong celluloid loyalist. “I’m like this group of Hollywood directors who went to see Kodak in Manchester and said, ‘We’re still going to shoot film. Even if our films are distributed on digital, we’re going to shoot on 35mm,'” he explained in an interview. “And I was one of the first in Paris to say, ‘I’m going to stop shooting if there’s no more 35mm.'” Slot Garrel alongside Martin Scorsese (Silence) and Jeff Nichols, who had not one but two 35mm releases this year (Midnight Special, Loving) — though, as his regular DP Adam Stone admitted, on the former “out of necessity, we did dabble with digital (Arri Alexa XT and M) on nighttime process trailer work, which allowed us to place digital cameras where a film camera and mag would not fit.” Speaking re the latter, Stone offered an example of why they’re still sticking with film, discussing a scene where two sisters speak against a field: “The sisters are in shadow in contrast to the field. […] At that time of day, it looked great, but shot on digital, it wouldn’t look as good.” Also note non-director film loyalist Tom Cruise, whose films are almost always 35mm (he still doesn’t like digital capture, said DP Robert Elswit last year), and who continued that trend this year with Jack Reacher: Never Go Back. There’s also Zach Snyder, whose Batman v. Superman: Dawn of Justice was mostly 35mm, with just about every possible format (IMAX, 65mm, Super 16, various digital cameras, you name it) around the edges. “We pushed our film one stop for some night exteriors,” noted DP Larry Fong. “Our philosophy was that if we’re going to shoot film, then don’t be afraid to show a little grain, so when the kids ask why we’re shooting film, we have something to point to. In this age of artificially added grain, flares and film-emulation software, it feels good to do it all for real.” More mixed-format productions: Jason Bourne, which originally wanted to go all-film but, said DP Barry Ackroyd, ended up being half digital — predictably, mostly for night scenes. Also, “it comes from the second unit wanting to shoot digitally so they could have instant replay on the technical stuff, and multiple cameras.” Possibly the most thoughtful division of film/digital labor was Robert Elswit’s reasoning for Gold, which shot 35mm for the Thailand scenes that make up the backstory: “Anamorphic gives you the scope and scale you want to show in Thailand, and shooting on film created a softer, more romantic look for the moments that make up his past.” That past/present rupture is reinforced by shooting present-day U.S. scenes of a con man being caught up with in harsher digital, which makes it “feel clinical, a little harsher.” Sing Street was also a 35mm/digital mix, but I couldn’t find much more information about that decision. Bafflingly, IMDB’s tech specs page for Deadpool claims one single shot was in 35mm. I emailed DP Ken Seng’s film rep for comment, hoping to find out exactly what that shot might be, assuming that’s accurate, but didn’t hear back. One more 16/35 hybrid: Hidden Figures, with DP Mandy Walker citing the common idea that for a period piece, “it was appropriate to capture people’s skin and their costumes by dealing with the kind of grain you only get from film.” (Added 2/24: Dr. Strange shot its Nepal scenes on 35mm.) Some of the more disheartening stories about working with 35mm had to do with the lost knowledge base and declining infrastructure for its processing and projection. Roger Deakins was headline-pullquote blunt (“I’m sorry, it’s over”) discussing his experience on Hail, Caesar!: “We had some stock issues and stuff like that, which was really disconcerting. […] I never really remember having those kind of problems before. But it makes me nervous now. I don’t want to do that again, frankly. I don’t think the infrastructure’s there.” It was hard on the editorial side too. Per Adobe’s Mike Kanfor: “Adobe didn’t expect to have to deal with film, and so we had to find a way to handle key codes [numbers on the film negative a bit like timecode, that reference each frame for the negative cut]. Even simple things like dailies, EFILM is used to putting out an Avid log exchange file, ALE – all the metadata of the dailies, which is a text file container that typically the Avid would read. We don’t work with that type of metadata, we do it another way. So we had to find ways to get EFILM to create a Premiere project that had all the dailies in it.” (In the panel during which Kanfor spoke, his response is preceded by a frank question from Deadpool editor Tim Miller: “I don’t know why anyone shoots on film, it seems crazy?”) But nothing can top Anna Biller’s epic account, well worth reading in full, of the problems she faced editing The Love Witch and preparing it for 35mm projection: there was no affordable black leader so she went with a digital substitute for fades to black; Fotokem was confused about how to scan a negative to go back to a negative rather than a DI, a problem requiring conference calls to solve; the end credits had to be redone three times for film standards; it was difficult to buy film cement (!); and, since post-production ended, “my negative cutter has vowed to never cut a negative again.” Dennis Hauck’s Too Late got the bulk of its press from an attention-getting release solely on 35mm. It helped, production-wise, that the film was shot in 2012, though Hauck, while a film devotee, has “mixed feelings” about playing up that aspect: “The 35mm thing is something that sets us apart from the pack, especially the way we’re releasing it, only on 35mm, no DCP, and anything that gets people to see this movie, I’m for. But […] it does distract from the story, which I’m very proud of. Even in Q&As, most of the questions are technical and they’re about how did you pull off the long takes, and so I do always get very happy any time someone asks me anything about the characters.” (An honorable mention here to Ted Fendt, whose feature Short Stay was shot on 16 but projected in 35mm, with the director paying for the print himself.) There were two black and white 35mm-based features. As with his breakout Everybody in our Family, Radu Jude shot Aferim! (and still to-be-acquired/released follow-up Scarred Hearts) on film: “DoP Marius Panduru and I decided that the film should be shot in black and white out of a wish to highlight the historical re-enactment artifice: we wanted to make the audience understand from the very beginning that what they are seeing is a subjective re-enactment […] We therefore tested different methods: a digital camera, one colour film and two types of black-and-white film. Comparing them, we concluded that the black-and-white film (namely, Kodak Double-X) was the most expressive and the one best suited for our project.” Ciro Guerra’s Embrace of the Serpent is another ambitious project with lots of exteriors on B&W 35mm, and in addition to citing the format’s greater visual depth he noted a practical upside to using it in the Amazon: “Film cameras are a technology developed to record war, especially during WWII, so they’re rugged machines. They don’t have the problem with humidity and condensation that digital cameras have. They are better, much stronger cameras for extreme conditions.” (I couldn’t find an interview to back it up, but I suspect that’s at least part of the reason that Valley of Love, shot in Death Valley, was also on film; ditto the extreme sunny desert visuals and setting of A Hologram for the King. I’ll also note here that I could find no particular reasoning for why the studio comedy Keeping Up with the Joneses was shot on 35mm.) Like many, Guerra cites both the greater color range and heightened discipline and attention that 35mm brings to the set, a point echoed and amplified by The Magnificent Seven DP Mauro Fiore: “it’s very impressive for the actors, director and crew when you suspend a 100ft x 50ft softbox above the set to create a moonlit exterior scene. Everyone gets a special thrill that they really are ‘making a movie’.” And discipline is realistically scalable, argued The Accountant DP Seamus McGarvey: “With the careful management of shooting ratios and the natural discipline that comes with shooting on film, I demonstrated to the producers how cost-effective film can be versus digital. The handling and post-processing of terabytes of data from the digital capture world can be unseen, costly and time-consuming ventures downstream. With this in mind, the producers quickly saw overall that shooting on film can be just as cost-effective, if not cheaper, than digital, and were very supportive in the decision to greenlight the production on 35mm. Indeed, it set a pleasing precedent to take into future productions when the debate revolves around the costs of shooting film versus digital.” Ditto Brady Corbet, discussing his directorial debut The Childhood of a Leader: “it can be more expensive depending on what it is that you are trying to do, but it can also be cheaper than shooting with digital cameras, which are in much higher demand, so the equipment rental is much more expensive. It also requires more time in the digital intermediate to work on the colors. You are spending a lot of money on extra days. There is also a lot of extra equipment that you need when you are shooting on video than you need when you are shooting on film.” [Added 2/24/17: I missed one movie, and JT Mollner’s essay discussing how shooting his film Outlaws & Angels on 35mm actually saved him money on a number of levels is definitely worth a look.] The format of the film itself, of course, also matters: DP Linus Sandgren noted that there was no question La La Land needed to be on 35mm for “the widest possible image and the best colors,” but deciding to shoot CinemaScope meant a more conservative shooting schedule. Film wasn’t just right for the colors of location shooting in Pittsburgh, but anamorphic lenses were an essential part of the equation for Fences: per DP Charlotte Bruus Christensen, “the reason why Denzel wanted to go film and with anamorphic lenses is because he said again and again, it’s an axis lens, and when you pull focus, the distortion makes you focus on the face.” McGarvey also shot Nocturnal Animals (another film with a lot of desert shooting) on 35mm, noting that “film and film cameras are more robust and able to deal with the vagaries of temperature and conditions […] when you came to the DI [digital intermediate], we have grain, we have contrast, but yet when we want to open up the negative and create a paler side, the latitude is there for the earlier scenes in her house.” For Ti West’s Western In a Valley of Violence, he and DP Eric Robbins felt film was crucial (though for budget reasons they went with spherical 2-perf 35mm over 4-perf anamorphic). There’s visual continuity with the genre, and then there are practical considerations: “film has tremendous highlight capacity and we where going to be shooting in extremely bright locations where highlight retention was going to be a huge part of the visual language. More importantly, we knew that the movie was going to have beautiful women in it but would also have movie stars. I owe it to actors to make them look as great as they can on screen and I knew that film would render skin tones in the most flattering way. It’s simple: everyone looks better on film. Film has a certain ‘glue’ to it; a way of melding planes of an image together in a very natural and organic way. This can never be replicated in any format in HD.” Similar concerns motivated Christensen to shoot The Girl on the Train in 35mm: “Emily Blunt is a very beautiful girl, but her makeup is very rough and it’s all about no makeup and red skin, split lips and a red nose. That’s a lot of makeup to make somebody look like that. And film is going to be much more gentle to it.” Ditto David Ayer re Suicide Squad: “When you’re doing something where people are made up, and you have so many constructed sets and everything, I think film sort of melts things together and makes everything feel very natural. Whereas, digital, you can see every pore, every detail.” And that’s it! Much of the reasoning here is familiar from years past: film as period connotation tool, way of forcing discipline, working more efficiently in harsh landscapes, as superior for extreme daylight, etc. The “glue” explanation is new to me in terms of the word but the concern isn’t new. In closing, I’d like to ask the person claiming on the IMDB tech specs pages for Bad Moms and Neighbors 2, both of which I have seen, that their negative format was 35mm: what kind of pleasure do you get from this kind of obscure trolling, which forces me to check whether I actually believe my eyes? Because I still do and c’mon. [Addendum: a knowledgeable friend writes “Both Bad Moms and Neighbors 2 are Universal and they still require 35mm film out for final delivery for archival purposes, even if the film was shot digitally, so perhaps the technical specs are referencing that?”]
4383	dbpedia	1	76	https://www.gettyimages.com/photos/jennifer-lopez-promotes-her-new-movie-bordertown-at-the-palace-hotel-in	en	Getty Images			[ "https://www.gettyimages.com/sign-in/assets/static/white-f114c2d21e50f9b239ac.svg", "https://www.gettyimages.com/sign-in/assets/static/black-dd9588e3db810afab0eb.svg" ]	[]	[]	[ "" ]	null	[]	null	Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.	de			null
4383	dbpedia	1	60	https://tastedive.com/shows/like/Bordertown-2016	en	Shows like Bordertown	https://upload.wikimedia…TV_series%29.JPG	https://upload.wikimedia…TV_series%29.JPG	[ "https://upload.wikimedia.org/wikipedia/en/thumb/5/52/Bordertown_%282016_TV_series%29.JPG/200px-Bordertown_%282016_TV_series%29.JPG", "https://images.qloo.com/i/9c3db408-ce24-4ffa-a803-38062a8c7fa0-127x180-outside.webp", "https://images.qloo.com/i/223e85cc-d0fb-4d6f-9523-ef722d86533d-127x180-outside.webp", "https://images.qloo.com/i/621cd073-006e-4d34-bd48-42ea5b39218b-127x180-outside.webp", "https://img.tastedive.com/a/258265-1599819738-9d11898.jpg", "https://images.qloo.com/i/8fd5542f-2856-43ec-8f27-c9e3189294d2-127x180-outside.webp", "https://images.qloo.com/i/92da6e40-5c1d-4cc8-8b67-5c94a36cef85-127x180-outside.webp", "https://images.qloo.com/i/0cac5821-6465-46c6-951c-e6307176d529-127x180-outside.webp", "https://lh3.googleusercontent.com/a/ALm5wu3sIdioXKkYze9O8bMzXndsNLanhf11_uw5VGkjNw=s96-c", "https://images.qloo.com/i/75de77bb-c8cc-4d97-adf9-1a322792dd80-127x180-outside.webp", "https://images.qloo.com/i/e4541716-42c4-4c6c-8f1a-49293e9d9bff-127x180-outside.webp", "https://images.qloo.com/i/80ff28e7-6a40-4ee6-b125-5ade9c892e0e-127x180-outside.webp", "https://lh3.googleusercontent.com/a/AEdFTp6fbyoTtSOMyG6kseLw3D-Ge2tlUl6WqfZwVs8q0Q=s96-c", "https://images.qloo.com/i/50a3e8a5-9938-4e21-a606-464c4cd2aee5-127x180-outside.webp", "https://images.qloo.com/i/2fe51941-39bd-4597-ad33-1f48a5bdfed4-127x180-outside.webp", "https://images.qloo.com/i/03e4e455-20c5-4f29-abb9-08628da8b500-127x180-outside.webp", "https://images.qloo.com/i/bd85cf5c-1114-4159-bc8a-45a625498521-127x180-outside.webp", "https://images.qloo.com/i/82bd0b72-15b3-44b3-a687-4829279137ed-127x180-outside.webp", "https://images.qloo.com/i/eabc1350-3049-4f77-9a73-f2484a2e3d9d-127x180-outside.webp", "https://graph.facebook.com/600193358/picture?type=large", "https://images.qloo.com/i/75de77bb-c8cc-4d97-adf9-1a322792dd80-127x180-outside.webp", "https://images.qloo.com/i/e4541716-42c4-4c6c-8f1a-49293e9d9bff-127x180-outside.webp", "https://images.qloo.com/i/80ff28e7-6a40-4ee6-b125-5ade9c892e0e-127x180-outside.webp", "https://graph.facebook.com/10224825554288861/picture?type=large", "https://images.qloo.com/i/bd85cf5c-1114-4159-bc8a-45a625498521-127x180-outside.webp", "https://images.qloo.com/i/82bd0b72-15b3-44b3-a687-4829279137ed-127x180-outside.webp", "https://images.qloo.com/i/eabc1350-3049-4f77-9a73-f2484a2e3d9d-127x180-outside.webp", "https://lh3.googleusercontent.com/a-/AOh14Gh2tUof8P2EIQv4J0Iu1cGvS7wJtTTHQ8Uo777L6Q=s96-c", "https://images.qloo.com/i/00000000-0000-0000-0000-000000024120-127x180-outside.webp", "https://images.qloo.com/i/46b97e94-6874-4774-a800-196716424774-127x180-outside.webp", "https://images.qloo.com/i/3b38744e-aed4-4d48-9083-ca619b775c09-127x180-outside.webp", "https://img.tastedive.com/a/436876-1652717587-dafb14c.jpg", "https://images.qloo.com/i/82bd0b72-15b3-44b3-a687-4829279137ed-127x180-outside.webp", "https://images.qloo.com/i/d0fbdc47-4996-4060-af73-25b37a1f7284-127x180-outside.webp", "https://images.qloo.com/i/5a603eba-4030-4afe-94e0-fe0580c1bb52-127x180-outside.webp", "https://tastedive.com/assets/icons/info-icon.svg", "https://lh3.googleusercontent.com/a/ACg8ocI09GEGNBVysJyDXpZDXHt-eNVf3-LjNuJD-_tYitS03DjRYlcAjQ=s96-c", "https://s3.amazonaws.com/img.tastedive.com/avatars/1033463-1723415946467.jpeg", "https://lh3.googleusercontent.com/a/ACg8ocKE5IycXiqBzxtX8a3teFujuiJsLYgNboY5ni7o8bc5DwYsmL4=s96-c", "https://lh3.googleusercontent.com/a/ACg8ocI8nfGkhcRmARHqYUyb4V2kSexO4KrDrNMQToOtzCzsnBgLRw=s96-c", "https://lh3.googleusercontent.com/a/ACg8ocJJSs2RTvETcQ3CR1hqoXCbSPgdab3P_xk29SfcJxFlGg=s96-c", "https://lh3.googleusercontent.com/a/ACg8ocIzTx4Zj7nVg0Cua8AIa3GxPnmuWSjm5bu0Ricy0Y9qqfLK=s96-c", "https://s3.amazonaws.com/img.tastedive.com/avatars/1013979-1697606591368.jpeg", "https://tastedive.com/assets/icons/info-icon.svg", "https://lh3.googleusercontent.com/a/ACg8ocLrgZS92wDQVrusOzjFuS3wnW4n96huAcVeKzd6vaIUHAQ8GA=s96-c", "https://lh3.googleusercontent.com/a/AAcHTteva7IE07poembs7bkeU2EHL1D4QD4-LrhVkLOFN3lhwlA=s96-c", "https://lh3.googleusercontent.com/a/AAcHTtdUVFme5mq10VCmL6JpkXVJ0cnmmCD0S7SfIBqH=s96-c", "https://lh3.googleusercontent.com/a/AAcHTtfgG6hCBkoNWesz3pwcP-zm58SUSIq4Y083m1sl=s96-c", "https://lh3.googleusercontent.com/a/AAcHTtczkpzzrYLepugSieXhFetoBBCP9mHis16RxhJA=s96-c", "https://lh3.googleusercontent.com/a/ALm5wu0NF4dDEQgRqeqd0IcW0za4E_c7UpPlUU_5MnT1-w=s96-c", "https://lh3.googleusercontent.com/a-/AFdZucp9QvLU-fB-xouncR_UysWkbCDREQBKlSQgQLgRRw=s96-c", "https://tastedive.com/assets/icons/facebook.svg", "https://tastedive.com/assets/icons/twitter.svg", "https://tastedive.com/assets/icons/instagram.svg" ]	[]	[]	[ "" ]	null	[]	null	Similar shows like Bordertown include Unsupervised, High School USA!, Bless the Harts…		/assets/favicon.png	TasteDive	https://tastedive.com/category/shows/like/Bordertown-2016	2016 2.6/5
4383	dbpedia	3	96	https://topsheet.io/blog/complete-guide-to-film-distribution	en	The Complete Guide to Film Distribution	https://topsheet.io/film…distribution.png	https://topsheet.io/film…distribution.png	[]	[]	[]	[ "" ]	null	[]	null	A film distribution company is responsible for the marketing and distribution of your films to the general public. Films can be distributed through theatrical, video on demand (Netflix, Hulu, Amazon Prime, etc.), DVD, and new media.	en	favicon.ico		https://topsheet.io/blog/complete-guide-to-film-distribution	A film distribution company is responsible for the marketing and distribution of your films to the general public. Films can be distributed through theatrical, video on demand (Netflix, Hulu, Amazon Prime, etc.), DVD, and new media. When looking into distribution options for your films, research the cautionary tales of filmmakers who have gone before you. Unfortunately, it's not uncommon for indie filmmakers to get taken for fools and end up getting ripped off. We're going to talk about what you need to look out for when getting ready to sign an agreement with a distribution company and how to best protect yourself and your product. What Are Ancillary Rights? It used to be that films would just show up in a theater, stay for a while, and then disappear. It's hard to imagine a film not advertised. No posters. No T-shirts. No billboards. No trailers. How do you even know if you want to go see it?! Is it worth the...well, pennies back then? Ancillary rights are supplementary or subordinate rights arising from a primary reason. In entertainment, this is a contractual agreement in which a percentage of the profits are received and derived from the sale of posters, T-shirts, action figures, books, DVDs, etc. relating to the film. This deal is made between the distribution company and the filmmaker. GET A LAWYER- one who regularly works on cases involving the entertainment industry. Just like the film insurance agent you hire must know the industry and the specific needs filmmaking requires, so does your lawyer. Ensure your budget for a lawyer as part of your distribution costs as ancillary rights are just one of the areas filmmakers start to lose their profits. A quick Google search of "Entertainment Lawyers" will provide you with a list of lawyers. Or contact other filmmakers you know or have worked with in the past to see which lawyers they have hired and get their personal recommendations. Plan Distribution Early If you are looking for investment for your film, chances are, you won't even get an investor until you have your distribution plan figured out. Investors want to know how you are going to make them money. Is their money safe with you? The film industry is a very high risk for investors, so make your plan is foolproof. Another reason why you should plan distribution early is to make sure you have it in the budget. Distribution is EXPENSIVE, especially if you are headed for theaters. Your marketing budget will, at a minimum, have to match your film's production budget up to $35M. If your film hits theaters, at best, you will only walk away with 35% of each ticket. If you sold $100M worth of tickets, your distributor would only see $65M of that amount, at best. And if you had a $33M production budget with a $33M P&A budget, you just broke even… barley. Different Types of Distribution There are two types of distribution: leasing and profit-sharing. Leasing, the distributor agrees to pay a fixed amount for the rights to distribute the film. Profit-sharing, the distributor gets a percentage of the profits made from the film. This percentage is usually between 10-50%. (Never go for the 50/50 split. You won't make any money.) Either option has it's pros and cons and depends mostly on how well your film does at the box office. It's the job of the distribution company and the studio to decide which option will benefit them the most. How to Get Distribution Several factors can lock in your likelihood of getting distribution: Big named talent: Have you ever gone to see a movie just because an actor you like was in it? What about your favorite directors or producers? People are funny about entertainment. They want the guarantee that they'll enjoy themselves. We have all been conditioned to believe that certain actors and directors and producers will always put out exceptional content. We believe that, because this was produced by the Russo Brothers or because Chris Hemsworth is in it, it will be good. It's like each person who goes to see your film is a mini investor, "Is this film worth spending $15 and two hours of my time?" Big-name talent sells films because people trust them with their money. Season: The time of year is a huge factor in whether or not your film will be distributed. Horror films generally do better in the autumn than they do in the spring. And Christmas movies do better in the winter than they do in the summer. Major studio backing: People trust the quality of major studios. Story quality: Poor story quality can really ruin your run. You may have some of the other elements to draw your audience to the theater or convince them to download your film, but if the story flops, the people who watch it, won't be telling their friends to go see- or worse, will tell their friends not to view it. Word of mouth and peer pressure are significant factors in a film's success. Don't believe me? Take a look at Napoleon Dynamite! Word of mouth drove the film's success, Fox Searchlight knew that it would be and totally leaned into it with their marketing strategy. Target audience: What is the age range and demographic that this film targets? Where do they watch their movies? What types of films are they interested in? Is that current demographic over-saturated with cinema? Social Media: Are people talking about the film? Do the cast members have a high number of followers on their Twitter, Instagram, Facebook, etc. accounts? Are people searching YouTube for behind the scenes footage and interviews? Are people in forums discussing the possible plot lines? How many people are engaged or could quickly become engaged online? The level of social media presence is an indicator of the film's success. If you can hit all of these areas, you're likely to find distribution. But if you can't get the big names involved or major studio backing, you can still find success by getting the right season, the right target audience, a high-quality story, and boosting your social media presence and involvement. If your film is set up at a major studio, chances are, distribution is already guaranteed through their partners. But if you are making an independent film and want feature film distribution, you have several options. Film Festivals There's a reason why film festivals are located all around the country and world. It's not just for fun or showing people your talent. It's often for the chance that a distribution company will pick your film (or a couple companies and end up with a bidding war). Different film festivals have different categories of film. Some focus only on short films, others are primarily horror. Search for festivals near your area that fit your film best. What films is your film similar to? Which festivals did they find their success? What did they do well? What could they have done better? What was their marketing strategy while they were at the festival? There is a delicate line between familiar and new that the filmmaker needs to walk to get the desired distribution. Film Freeway is a helpful tool to get you submitted into film festivals like Sundance Film Festival, Slamdance, Miami Film Festival, The Animator Showcase, and so much more. As you are looking into the festival circuit, you can filter by genre, entry fees, film festivals, screenwriting contests, music contests, and others. Be sure to note when the submission deadlines are so you don't miss it. Distribution Screenings In order to really pull off this option, you need to be well connected to film distributors and/or have a very talented sales agent who can sway the right people to appear at the private screening. Sales Agents The job of the sales agent is to connect your project to the right distributor… for a fee. A good sales agent should have good connections and a reputation for making sales. Filmhub Filmhub is an exciting option for the independent filmmaker. Simply submit your film for free, streaming channels will discover, order, and stream your work worldwide while keeping a whopping 80%. They work with many different streaming services like Fandango, Amazon Prime, Dove Channel, and dozens of others. With Filmhub, you'll have to do a lot of the leg-work to market your film yourself or hire a separate marketing firm, but it may be worth it for you. Self Distribute You can put your feature film on Vimeo or YouTube. Or you can get your movie on VOD platforms like Amazon, Netflix, iTunes, and other digital platforms. Another option is to make and sell DVDs or Blu-Rays. You could also hire a theatrical film booker and do a limited theatrical release in select theaters. Napoleon Dynamite started with a limited release in a handful of theaters and slowly grew into more and more movie theaters until it was nationwide. If you have an excellent product, sometimes you just need to be adamant about getting it in front of people. With so much content creation and so many platforms, it's too easy to get lost in the shuffle. Whatever you can do to get your film viewed, creating champions along the way, get it done. Film marketing can be difficult, but it can also be enjoyable. Getting Into Theaters Let's be honest, that's every filmmaker's dream, right? Get your film released in theaters, have your film watched by millions on the big screen, be the film that gets applauded, and win all the awards. Ah, yes, a dream indeed. An expensive dream. And not usually very lucrative for the independent filmmaker. But it may still be worth it because of all the critical notices it can receive from newspapers, magazines, and online reviews. Let's say you get into Sundance Film Festival and land a distribution company (Woohoo! Go you!), and they want to get your film into movie theaters. Each theater needs its own print of your film. Each print costs between $1,500 and $2,000 to make. There are 37,000 theaters in the United States. The distribution company needs to decide how many theaters and which locations would be the best fit for your film. They will need to look at the demographics and population of each area...what are the odds that they'll fill the seats enough to offset the high cost of the prints alone? Not to mention all the "marketing" that they (may or may not) have done. Most movie theaters use buyers to represent them when negotiating a film with the distribution companies. Apparently, this can be very "political" in that the buyers will often accept a movie they aren't particularly interested in in order to get a film that they really want coming down the pipes. All the while, maintaining the delicate balance of having good relationships across the board so everyone can get what they need. Each theater competes with every other theater in their area to try to get the best movies at the best prices, and the distribution companies need to ensure all of the theaters will all continue working with them. Once a buyer is interested in a movie, the lease terms are discussed. There are two ways for a movie theater to lease a movie: Bidding: Bidding is when the theater pays a fixed amount for the right to show the film. For example, the theater could bid $100,000 for a four-week long commitment to a film. If the film brings in more than that $100,000, the theater makes a profit. If they bring in less, the theater has a loss. Bidding isn't commonplace with most distribution companies anymore. Percentage: With a percentage deal, the distributor and the movie theater negotiate several aspects. The House Allowance - the weekly box office that theoretically allows a theatre to break-even. The percentage split for the net box office. (What the box office is left with after the deduction of the house allowance). The percentage for the gross box office is set. The length of engagement (usually 4-6 weeks). The agreement gives the distributor a greater percentage between the net or gross box office, and the distributor ends up making the majority of the money. To make up for the deficit, theaters charge outrageous amounts of money for concessions. The theaters get paid by ticket percentages and concessions. The distributors get paid by percentages of sales. How do you get paid? Technically, you'd get a percentage as well. How much of a percentage depends on how good of a lawyer you have, really. Distribution companies are mostly looking out for their bottom line. They are not looking out for you. From their portion of sales, film distributors will deduct all the costs associated with the film's release. It's common for them to write in a "cross-collateralization clause," which means they can offset theatrical losses against profits from other windows. Cross-collateralization can occur when the distributor is licensing the producer's work in a package along with a number of other works. In these situations, the costs and advances for all the works in the package are offset against the revenues from any of the works, including the producer's work. The producer will want to include language that specifies that the revenues attributed to the producer's work will not be subject to the costs and obligations of other titles in the package (i.e., the producer's work will not be cross-collateralized with other works in a package). Cross-collateralization is a concern where the producer's work may be sold in a package to support the sale of weaker titles. The second way in which cross-collateralization can be applied is by crossing the expenses from one market in which the producer's work is distributed against revenues attributed to other markets. If the producer has the bargaining power, the producer may be able to get each market and territory separately to avoid cross-collateralization among markets and territories. Filmmaker Magazine What to Watch Out For We've already established that a majority of independent distribution companies don't have your best interest in mind, and we have all heard the unfortunate horror stories of the filmmakers who got swindled. So, how do you protect yourself and your product and make a fat wad of cash and get the name recognition that you've always wanted? Hire a lawyer. Seriously, your best bet is to budget in the cost of a really good entertainment lawyer. Recommend and push for an itemized list of the ways they intend on marketing your indie film (how, when, where, cost of each thing). Make sure you get the exact numbers! Distribution companies will try to hide profits from you. When your film starts making money, and without that itemized list, your distributor might claim that they need to recoup some of their marketing expenses out of the cash that should go to you. Negotiate a shorter term length. Right now, the average term length for most distributors is 10-15 years. That's 10-15 years where you have no rights to your film. The product that you put all of your blood, sweat, and tears into. What if the distribution company does a horrible job of getting your film out there? You have the option of negotiating a performance requirement in the contract. This provision requires the distribution company to generate specific sales levels within a certain time limit and gives you the right to terminate the contract. This can help ensure your distributor gets their butts in gear and doesn't sit on your film for years and gives you a second chance at getting your film to market within a reasonable time frame if they don't follow through. The bigger the deal, the less control you have. Cap film distribution expenses. If you negotiate split profits after expenses, all of your profit will disappear into their "marketing budget." Be sure to cap their expenses so they can't redistribute your money into their pockets. Deliverables Deliverables include things like the film, paperwork, documentation, legal documents, trailers, key art, raw film, etc. Distributors just want everything! I recommend keeping it all stored in files in the cloud where nothing bad can happen to it. Below is a detailed list of the things you should keep stored in your "Deliverables" folder, so it's easy to hand over whatever your distribution company requires. Legal Archival Clip Licenses Cast and Crew Restrictions Certificate of Authorship Certificate of Origin Chain of Title Credit Items E&O (Not all distributors ask for Errors and Omissions, but it's a good idea to include it to cover your butt- just in case). Literary Materials MPAA Documentation Music Other Agreements Film/Audio Feature film on HDCam or digital file Original aspect ratio Native frame rate 5.1 mix Trailer Additional versions: Clean output (without titles), DME separated Key art/Poster art 300 dpi separated art layers Audio output: Channel 1: 5.1 track: Left Channel 2: 5.1 track: Right Channel 3: 5.1 track: Center Channel 4: 5.1 track: Lfe Channel 5: 5.1 track: Left Surround Channel 6: 5.1 track: Right Surround Channels 7+8: Full Mix Stereo L&R Channels 9+10: M&E Stereo L&R Pre-Production Materials Audition tapes, storyboards, script meetings, etc. that might make good DVD "extras" or promotional tools. Talent agreements Production Behind the scenes footage Still photography Cast and film crew interviews Editing Narration DME Music Outtakes/deleted scenes Alternative Endings Press Kit Getting your film distributed can be a daunting task. This is why we highly, highly recommend getting a lawyer experienced in the film business world. Whether you're fresh out of film school or you're a seasoned indie filmmaker, there is always something more to learn, and it's best not to get duped in the process of creating distribution deals.
4383	dbpedia	2	62	https://filmforum.org/more/distributors	en	Film Forum · Film Distributors	https://filmforum.org/more/{page-thumb}https:/filmforum.org{page-thumb-image}{/page-thumb}	https://filmforum.org/more/{page-thumb}https:/filmforum.org{page-thumb-image}{/page-thumb}	[ "https://filmforum.org/do-not-enter-or-modify-or-erase/site-theme/img/nav-icon-blue.png", "https://filmforum.org/do-not-enter-or-modify-or-erase/site-theme/img/film-forum-logo.png", "https://filmforum.org/do-not-enter-or-modify-or-erase/site-theme/img/footer-logo.png" ]	[]	[]	[ "" ]	null	[]	null	Distributors are listed in alphabetical order. Select the first letter of the company's name. [#] [A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] [Q] [R] [S] [T] [U] [V] [W] [X] [Y] [Z] PLEASE LET THE ENTIRE PAGE LOAD BEFORE MAKING YOUR SELECTION. Information is current at the time of input.	en	/do-not-enter-or-modify-or-erase/site-theme/img/apple-touch-icon.png	Film Forum	https://filmforum.org/more/distributors	© 2024, Film Forum, Inc. All rights reserved. Not to be reprinted without permission. We at Film Forum stand against violence, oppression, and racism. We join all those who mourn the senseless loss of life and who work to build a more just world. Black Lives Matter. Film Forum acknowledges the Lenape peoples, the original native New Yorkers, on whose land our theater is located. This acknowledgement reflects our commitment to shedding light on the ongoing legacies of settler colonialism and forced migration.
4383	dbpedia	1	37	https://www.goodnewsfinland.com/en/articles/opinion/2023/film-and-tv-finland-blooming/	en	The film and TV sector in Finland is blooming	https://www.goodnewsfinl…/jcr:content.jpg	https://www.goodnewsfinl…/jcr:content.jpg	[ "https://www.goodnewsfinland.com/static/images/SVG/GnfGlobeWhite.svg 1x, /static/images/SVG/GnfGlobeWhite.svg 2x" ]	[]	[]	[ "" ]	null	[]	null	The Finnish film and TV industry is thriving. It’s finding new audiences, picking up awards and offering an excellent base for international collaboration, writes Hanna Vuorinen, head of Film in Finland.	en	/favicon_gnf/apple-touch-icon.png		https://www.goodnewsfinland.com/en/articles/opinion/2023/film-and-tv-finland-blooming/	The Finnish audiovisual sector has grown and become more international in the past few years. As a result, the total revenue of production companies rose by more than 40per cent from 2017 to 2019. This upward trend continued in 2022 as films like Girl Picture, Hatching and My Sailor, My Love were awarded at several international festivals. This year looks equally promising. One of the most anticipated Finnish films is Sisu, an action thriller directed by Jalmari Helander (known for Big Game and Rare Exports). The word sisu refers to a combination of resilience and stoic determination. It is found at the very core of Finnishness and the film, where a Finnish gold miner fights the Nazis in the deep wilderness of Lapland. In September 2022, Sisu premiered at the Toronto Film Festival and a month later won four awards at the prestigious Sitges International Film Festival in Spain. Furthermore, the film already has a distribution deal with Lionsgate and will be released across North America. Finnish TV series are also thriving. According to Laura Kuulasmaa, executive director at the producers’ association APFI, Finland released 30 original, high-quality drama and comedy series for domestic audiences in 2022 alone. Many of these exceeded commercial expectations, were sold internationally, and received positive reviews and audience reception. The same trend is set to continue. Many anticipated Finnish series, such as Estonia and Dance Brothers, will premiere this year. Estonia, a 15 million-euro series about Europe’s deadliest civil maritime disaster, is made in collaboration with creatives from series such as Chernobyl and Bordertown. On the other side, Dance Brothers is a modern story about two brothers who start a dance company. It’s produced by YLE, Finland’s national public broadcasting company, and Netflix. Another exciting output comes from a new kid in town, Ilkkas’ Creative Studio. The studio has started with a bang and is collaborating with BBC Studios Nordics to create a noir crime spoof Nordic Police Force. The series is produced by the undeniable masters of spoof comedy, David Zucker and Pat Proft, best known for their work on Naked Gun and Airplane!. Currently in development, “NoPoFo”centres on an elite team of special agents who investigate gruesome and overly elaborate murders committed by twisted killers in the Nordic countries. In short, it’s Nordic noir meets Police Squad. But Finns aren’t all about tragic stories and melancholy. That is proven by the success of the animation company Gigglebug. Its hit series, Unstoppable Yellow Yeti, was commissioned by Disney Channel in Europe, the Middle East and Africa and the Nordic broadcasters YLE, DR, NRK and SVT. This is just the start. Anttu Harlin, CEO and founder of Gigglebug, believes there is plenty of more growth potential in the Finnish animation industry. Gigglebug is a good example: Harlin estimates the company’s turnover has grown by 500 per cent in five years and that its productions alone will bring about 45 million euros to Finland between 2019 and 2025. In addition to original content, Gigglebug is a service provider for industry giants like Disney, Netflix, Nickelodeon and Warner Bros Animation. This is a promising sector also outside animation. Jupe Louhelainen from Film Service Finland has worked with several international big-budget productions and notes that foreign productions are increasingly looking to bring their projects to Finland. According to Louhelainen, in the past year, several productions have spent a total of around 18 million euros in Finland through a Film Service Finland incentive. Foreign capital made up for 100 per cent of this. In 2023, the incentive is estimated to bring in around 21 million euros. This is partly thanks to Finnish service providers’ reputation as reliable and trustworthy. Lee Kim, a Los Angeles-based producer at Resolute Films and Entertainment, has first-hand experience with that: “any time you go to a new place to shoot and you’re working with new people you have to build trust – and the Finns were very direct and consistently did exactly what they said they would deliver on.” The above are just some examples of how Finland’s film and TV industry is blooming. It’s finding new audiences internationally, picking up awards and offering a solid base for foreign productions and collaboration. It’s an encouraging way to start the new year.
4383	dbpedia	2	58	https://editorial.rottentomatoes.com/article/rtindie-can-indie-studios-survive-without-big-studio-backing/	en	RTIndie: Can Indie Studios Survive Without Big Studio Backing?	https://editorial.rotten…editorial-v1.png	https://editorial.rotten…editorial-v1.png	[ "https://graph.facebook.com/v2.2/100001988417196/picture", "https://images.fandango.com/cms/assets/68ffa860-b30f-11ed-9d20-83ee649e98bd--rotten-logo-ko-322x100.png", "https://images.fandango.com/cms/assets/68ffa860-b30f-11ed-9d20-83ee649e98bd--rotten-logo-ko-322x100.png", "https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/images/icons/social_twitter.png", "https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/images/icons/social_fb_share.png", "http://images.rottentomatoes.com/images/movie/gallery/1159114/photo_01.jpg", "http://images.rottentomatoes.com/images/movie/gallery/1148235/photo_12.jpg", "http://images.rottentomatoes.com/images/movie/gallery/1158927/photo_03.jpg", "http://images.rottentomatoes.com/images/movie/gallery/1169089/photo_01.jpg", "http://images.rottentomatoes.com/images/movie/gallery/1159138/photo_10.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/12/28142335/joker2.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/07/10091121/Moana2.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/07/04151817/600FallGuyR.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/10/27142408/Mary_poppins-600x314-.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/16103123/600AlienRomulus5.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/23172046/Fall_Horror_Preview_2024-Rep.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/10/27142408/Mary_poppins-600x314-.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/23172046/Fall_Horror_Preview_2024-Rep.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/27121841/Sonic_3.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/08/26121845/Deadpool_And_Wolverine_gasp-600x314-1.jpg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[ "RT Staff" ]	null	With the sale of independent-minded ThinkFilm last week, can indie film distributors survive without big studio backing?	en	https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/static/images/icons/favicon.ico		https://editorial.rottentomatoes.com/article/rtindie-can-indie-studios-survive-without-big-studio-backing/	With the sale of independent-minded ThinkFilm last week, can indie film distributors survive without big studio backing? Author: Juliana Tringali ThinkFilm, best known for releasing 2004’s "Born Into Brothels," was recently purchased by the Capco group for $25 million. Group head David Bergstein plans to merge ThinkFilm with Capitol Films (another formerly fledgling distribution company), creating a "formidable new force in the independent marketplace." We’re not going to tell you how the wheels on "Shortbus" go. For five years, ThinkFilm has built a reputation for distributing daring films that many others wouldn’t touch. Its current theatrical releases include John Cameron Mitchell‘s sexually explicit "Shortbus" and "Half Nelson," the story of a drug addicted inner city teacher. Meanwhile, Capital Films has helped to sell such fare as "A Prairie Home Companion" to international markets. Before the purchase, ThinkFilm was the one Canadian company distributing movies in the states. Their game plan was generally to acquire documentaries or daring low budget films and subsequently attempt to sell them to more mainstream audiences. The strategy won an Oscar for "Brothels" (which scored a 96 percent on the Tomatometer), and garnered further nominations for other releases ("The Story of the Weeping Camel," "Murderball"). But despite some critical and moderate commercial successes (including "Spellbound"), none of the ThinkFilm’s offerings broke through to widespread box office popularity. Capco says the merger will allow ThinkFilm to be a bigger player in the global film market. "Murderball": Better than "Rollerball!" In the expensive world of film production, perhaps the acquisition of smaller companies has always been an uncomfortable but irrevocable truth. After all, when indie first went boom in 1994, its most powerful mainstays had already been snatched up. Miramax was purchased by Walt Disney Co. in 1993 (just before releasing "Pulp Fiction," the shot that sounded out the new era in film). In 1994, Turner Broadcasting System purchased New Line Cinema, which had dared to produce movies from unknown filmmakers since 1967. No, this isn’t a metaphor for the indies and the majors. But 1994 was a time of optimism. Making films outside the studio system was not only possible, it was hot, and bright-eyed believers were standing up to be counted. Among them were Newmarket Films, then a new privately-owned production and distribution company (purchased by New Line/HBO in 2005), and the Independent Film Channel (IFC). Palm Pictures was started in 1998, and ThinkFilm began in 2001. Studios had their finger on the pulse as well. In 1994, Fox Searchlight was introduced as the indie wing of 20th Century Fox and it went on to produce some of the most successful "independent" films of the 1990s. NBC Universal followed suit in 2002 with Focus Features. Not surprisingly, these smaller sectors of major studios have had more staying power than their more authentic counterparts. Top Reviewed Limiteds Opening last week in limited release: "Shut Up & Sing," a rockumentary about the Dixie Chicks, is at 93 percent with 30 reviews; "Exit: The Right to Die," a documentary about assisted suicide, is at 88 percent (8 reviews); "Absolute Wilson," a documentary about avant-gardist Robert Wilson, is at 82 percent (11 reviews); "Cocaine Cowboys," a documentary about drug smuggling in Miami in the late 1970s and early 1980s, is at 78 percent (23 reviews); "Babel," Alejandro Gonzalez Inarritu‘s globetrotting film about despair and interconnectivity, starring Brad Pitt and Cate Blanchett, is at 74 percent (61 reviews); and "The Bridge," a doc about suicides on San Francisco’s Golden Gate Bridge, is at 64 percent (28 reviews). Dixie Chicks flick: a hit with crits! Top Performing Limiteds "Babel" was the biggest indie winner this week, grossing $366,000 for a big per-screen average of $52,258, despite playing in only seven theaters in New York and Los Angeles. Stephen Frears‘ "The Queen," starring Helen Mirren, continued its strong performance, grossing $1.9 million, with a $12,638 per-screen average (it’s made $6.3 million during its theatrical run). "Shut Up & Sing" made $51,000 in four theaters, for an average of $12,750. But something of a disappointment was "Death of a President" which, despite the hum of controversy, made only $167,000 with a per-screen average of $1,835.
4383	dbpedia	3	14	https://www.documentary.org/feature/accidental-doc-distributor-surprising-success-leads-taste-nonfiction-films	en	The Accidental Doc Distributor: Surprising Success Leads to a Taste for Nonfiction Films	https://www.documentary.org/themes/custom/ida_bootstrap_sass/images/favicon.ico	https://www.documentary.org/themes/custom/ida_bootstrap_sass/images/favicon.ico	[ "https://www.documentary.org/sites/default/files/styles/large/public/2024-01/Documentary%20Magazine%20Logo.png?itok=kWOsFPqk", "https://www.documentary.org/sites/default/files/inline-images/Media%20Kit%202024%20-%20MH%20Master%20Template%20-%20DO%20NOT%20USE_0.png" ]	[]	[]	[ "IDA", "International Documentary Association", "documentary", "documentary magazine", "magazine", "independent film", "documentary film" ]	null	[]	2024-07-24T08:34:28-07:00	By Mark UrmanMy first successful documentary was an accident.	en	/themes/custom/ida_bootstrap_sass/images/favicon.ico	International Documentary Association	https://www.documentary.org/feature/accidental-doc-distributor-surprising-success-leads-taste-nonfiction-films	By Mark Urman My first successful documentary was an accident. At Sundance 2000, I was lured to a screening by a publicist proffering gift bags full of makeup for my wife and daughter. Having trudged through the snow to collect the booty, I was then too embarrassed to leave without watching some of the movie. "Let me give it a few minutes," I told myself. The film, which I hadn't at all planned to see, was The Eyes of Tammy Faye, Fenton Bailey and Randy Barbato's beatification of the late Tammy Faye Bakker Messner. I left with bags of lip gloss and false eyelashes and, because I thought the film was the most enjoyable I'd seen at the festival, I left with it too. Much to my surprise, I had acquired a documentary! Once I got Tammy Faye back home, there were other surprises. My staff and I discovered that we had a big "star" whom we could book on national talk shows, and we had a pair of imaginative filmmakers whose sense of showmanship was equal to anyone's in Hollywood. The film got a lot of press and critical plaudits and, when it opened, it actually did well at the box office. (Editor's note: The Eyes of Tammy Faye was released theatrically through Lions Gate Films.) Even though documentaries and I have had a checkered past, this was looking like the start of a beautiful friendship. At Sundance just one year earlier, I screened a few documentaries, though no gift bags were offered. One film that caught my eye was made by someone who could legitimately be called a "name" director. The film in question was the latest work by Errol Morris, whose Thin Blue Line I had seen and admired, and whose Fast, Cheap, and Out of Control had enjoyed rapturous reviews and long theatrical runs. I remember as I watched the film, Mr. Death, feeling certain that I was in the presence of a true artist. I had become an Errol Morris fan--just as I had done with "real" directors who made "real" movies--and Errol himself reinforced that aura of the "auteur" by summoning me to Cambridge, Massachusetts, to meet with him before he'd sell me his film. I thought Mr. Death was great, and the critics agreed, but it bombed at the box office, and I was naturally reluctant to pick up another documentary. I remember declining invitations, saying, "If I go, I'll love it, I'll buy it and I'll lose money." Then, I set eyes on Tammy Faye a year later and things changed. At the Toronto International Film Festival in the fall of 2002, a colleague of mine talked me into trying again. This time the film was Spellbound and, though it had generated good buzz at three prior festivals, it was something I had managed to miss until then. Its director, Jeffrey Blitz, had no pedigree and, worse still, it was about something so bland and specific that no one could possibly be interested. Yet, there I was, watching a group of 14-year-olds compete in a spelling bee--and loving it! I bought it, and this time it was an enormous critical and commercial success, and went on to earn our young company, THINKFilm, its first Oscar nomination. Clearly, things were moving in the right direction! Shortly after its spring 2003 release, Spellbound entered the ranks of the top-ten grossing documentaries of all time. That same year three other documentaries--Bowling for Columbine, Winged Migration and Capturing the Friedmans--all achieved the same distinction, and all were Oscar-nominated. For us, Spellbound was a milestone from which there would be no turning back. Clearly, this was something we would want to do again and again. More importantly, for our audiences--tens of thousands of people who were seeing a documentary in a theater for the very first time--there was also no turning back, and they would want to do this again and again. Since then, the box office records for documentaries have been broken countless times, with double-digit million-dollar grosses becoming commonplace. There has even been a doc--Fahrenheit 9/11--that has broken the $100 million mark, something that was unimaginable when I acquired Tammy Faye with such trepidation just a few years earlier. Whether drawn by spelling bees or birds, by cursing comics, terpsichorean teens, or political pundits of one persuasion or other, nearly everyone has seen--and enjoyed--at least one documentary in the past five years. If one is looking for a film that is critically acclaimed, topical, talked about or written about, a documentary would be hard to miss. This year, THINKFilm didn't arrive in Sundance just to look for new documentaries, although we did buy two; we also presented two in competition, films that we got involved with from the earliest stages, after seeing mere minutes of footage. Having developed a taste for narrative nonfiction films, and no small degree of expertise in their marketing and distribution, we now aggressively pursue docs and frequently help get them made. Since Spellbound, three more of our films, including one we fully financed, earned us Oscar nominations, and one of them, Born into Brothels, nabbed the statuette. Of the 80-odd films we have released since 2002, 35 of them have been documentaries--an astonishing 42 percent--and we have maintained a level of nearly 40 percent for both 2006 and 2007. This is not something we do by design. We are looking for the best films at the best price, ones with the strongest marketing hooks and the largest number of potential promotional partners or concerned constituencies. We like films with actors, sets and costumes, and often do very well with them, but time after time the films that meet our criteria and exceed our expectations are the docs. They come in all shapes and sizes--classically built and innovative, academic and personal, issue-oriented and purely entertaining, with gift bags and without. Needless to say, we see far more than we could ever handle, and the upside and the downside is that, now that documentaries are as numerous as other kinds of independent films, they can also be as bad. So, for me and most independent distributors I know, docs have become a steady part of our film buying, filmmaking and film-going diet, and today, the distinction is no longer "documentary" versus "drama." Now, the distinction is good or bad, commercial or limited, sellable or small, a pursuit or a pass. It's either a movie we want or a movie we don't. My first successful documentary may have been an accident, but each one since--and, thankfully, there have been several--was planned. May there be many, many, more!
4383	dbpedia	3	43	https://www.imdb.com/name/nm2759244/news/	en	Spencer Pollard	https://m.media-amazon.c…al/imdb_logo.png	https://m.media-amazon.c…al/imdb_logo.png	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:132-5494517-3066648:DE62AYBWVHZ68WJ9YSH3$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DDE62AYBWVHZ68WJ9YSH3:0", "https://m.media-amazon.com/images/M/MV5BYzg1MTk2NWMtNTk1My00MDg2LTk4MjItZjQ5MmE0N2QwMWFiXkEyXkFqcGc@._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BNjc3MmVjODctNDcyZC00ZTViLTk1ZTYtMGY4NWQxNmM4ZGYzXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BOTY0ZWNjMzAtNTBhNy00ZjRkLTk2ZWYtODc2MmM1NjYzODU5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BZTExZjFhOGQtZWUxYy00YTEzLWJmYjgtNjJkYmFiOGNmMWM5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BYTk3MWZjMjYtNWZmMy00Y2QzLTkwOTEtN2RiZGIwZTVkNTgwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY140_CR35,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BYTk3MWZjMjYtNWZmMy00Y2QzLTkwOTEtN2RiZGIwZTVkNTgwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY140_CR35,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZTQyZjg2YTAtNzcxYi00N2IyLWJlZWMtNjZkOTIxZDBlYmNlXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BOGNhM2I2MTAtODlhMC00YWZkLTgyMTEtZDZiNWQ2YzZhZWNkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMWI3ODgxZmEtNzI4ZC00N2YwLWI3ODQtNGQwYjA3MGE0NTdmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BOGNhMDA1NzItN2UzZC00Y2E5LThkOTctYTAyMjBmZDYxZjM4XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BOGNhMDA1NzItN2UzZC00Y2E5LThkOTctYTAyMjBmZDYxZjM4XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BNGM3ZTgwMDgtOGUzZS00MzE5LTk2MTAtOTc5OGFmYWQzODM5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMmQzZTk0ZDYtNmJhOC00ZmE5LTg2YWMtYjY5MjRmOWE4OWIzXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BZjEzZWNiMWMtYTUzMi00MzVjLTgyMjgtY2JmZDJjZWI4MDE3XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BNjY4NDY5M2ItMGE5ZC00NWIxLTliMTgtZTEzZDIwZmUyNzQ5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BZWJmODliMmItYWM5NC00MTViLTg5MGYtMTNjNGEyZDlmNGIwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR8,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BZDUzZGQ3OWYtODMyMi00Y2M1LWJjOTYtZmM1ODVkYjk3N2FhXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZDUzZGQ3OWYtODMyMi00Y2M1LWJjOTYtZmM1ODVkYjk3N2FhXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZWY0MzVjM2YtODAxZC00ZWEyLTkxZWYtNWMyMDNiNjUyZDM5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR86,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BZWU4MjY0YjctYzI4Yi00YTBjLWFhNTEtMmU2OGFiYTcyMzY0XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BOTM0YzU4ZDQtYThkMi00ZDE2LTllZjYtYWNjZWIzNTZkY2I0XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMTlhYzc4OTEtZTFjMC00MzljLThkMmQtYmE5NGEyMTNjNTcxXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,26,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMDY2YWQ5YmYtMWMzZi00Y2E1LWFmMGYtZGM1ZDdmZTMxZWIwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BYzMzOTQwNzktOWVmYS00YTE2LWE2ZTItNmE4MTQ3OTVjNDVlXkEyXkFqcGdeQXVyMjMwODE4ODI@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYzMzOTQwNzktOWVmYS00YTE2LWE2ZTItNmE4MTQ3OTVjNDVlXkEyXkFqcGdeQXVyMjMwODE4ODI@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjQwMzA1MzIwOV5BMl5BanBnXkFtZTgwMzA4NTU4NjE@._V1_QL75_UX140_CR0,2,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjQwMzA1MzIwOV5BMl5BanBnXkFtZTgwMzA4NTU4NjE@._V1_QL75_UX140_CR0,2,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTczNzA1ODc4Ml5BMl5BanBnXkFtZTgwNTA2MjkyNzM@._V1_QL75_UY207_CR6,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTczNzA1ODc4Ml5BMl5BanBnXkFtZTgwNTA2MjkyNzM@._V1_QL75_UY207_CR6,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYjY1NmY1MzUtOTgwYy00Mzk0LThkNzgtZGRhNWU4NmFmYzMyL2ltYWdlXkEyXkFqcGdeQXVyNjQzNDI3NzY@._V1_QL75_UX140_CR0,2,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYjY1NmY1MzUtOTgwYy00Mzk0LThkNzgtZGRhNWU4NmFmYzMyL2ltYWdlXkEyXkFqcGdeQXVyNjQzNDI3NzY@._V1_QL75_UX140_CR0,2,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNmFmM2JiMTgtMjY1Yy00M2QxLWJhODMtYmQyNDg2OTJkNTRhXkEyXkFqcGdeQXVyMjE4NzUxNDA@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNmFmM2JiMTgtMjY1Yy00M2QxLWJhODMtYmQyNDg2OTJkNTRhXkEyXkFqcGdeQXVyMjE4NzUxNDA@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjI1NTU2NTI5NV5BMl5BanBnXkFtZTcwNDYzOTI1NQ@@._V1_QL75_UY207_CR5,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjI1NTU2NTI5NV5BMl5BanBnXkFtZTcwNDYzOTI1NQ@@._V1_QL75_UY207_CR5,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYzMyNzQyNzEtZGFhZi00OTAyLTg2NWQtYTQ1ODlkZDQ1OTliXkEyXkFqcGdeQXVyMTUyNjc3NDQ4._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYzMyNzQyNzEtZGFhZi00OTAyLTg2NWQtYTQ1ODlkZDQ1OTliXkEyXkFqcGdeQXVyMTUyNjc3NDQ4._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTU3NjIyNDY3OF5BMl5BanBnXkFtZTcwNzA2NjAwOQ@@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTU3NjIyNDY3OF5BMl5BanBnXkFtZTcwNzA2NjAwOQ@@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZTA5NDY0OWUtOWQ4Zi00YmM1LTg0YWYtNThmMmI5NGI4ZDMzXkEyXkFqcGdeQXVyMTcwNzUwNzc@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZTA5NDY0OWUtOWQ4Zi00YmM1LTg0YWYtNThmMmI5NGI4ZDMzXkEyXkFqcGdeQXVyMTcwNzUwNzc@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZWE4MmY0ZTgtY2Q2Zi00YmM1LWIzZGItZWUzN2UwYzQ1YmNlXkEyXkFqcGdeQXVyMjgzNjA3Mw@@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZWE4MmY0ZTgtY2Q2Zi00YmM1LWIzZGItZWUzN2UwYzQ1YmNlXkEyXkFqcGdeQXVyMjgzNjA3Mw@@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZWE4MmY0ZTgtY2Q2Zi00YmM1LWIzZGItZWUzN2UwYzQ1YmNlXkEyXkFqcGdeQXVyMjgzNjA3Mw@@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZWE4MmY0ZTgtY2Q2Zi00YmM1LWIzZGItZWUzN2UwYzQ1YmNlXkEyXkFqcGdeQXVyMjgzNjA3Mw@@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjEwMzA0NTM4Nl5BMl5BanBnXkFtZTgwMzMxMzI2NTE@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjEwMzA0NTM4Nl5BMl5BanBnXkFtZTgwMzMxMzI2NTE@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTI1MjU3MTI2MF5BMl5BanBnXkFtZTcwMDgxNTE4MQ@@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTI1MjU3MTI2MF5BMl5BanBnXkFtZTcwMDgxNTE4MQ@@._V1_QL75_UY207_CR1,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjA1MTQ3NzU1MV5BMl5BanBnXkFtZTgwMDE3Mjg0MzE@._V1_QL75_UX500_CR0,109,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMjExNzkxOTYyNl5BMl5BanBnXkFtZTcwODA0MjU4Ng@@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjExNzkxOTYyNl5BMl5BanBnXkFtZTcwODA0MjU4Ng@@._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:132-5494517-3066648:DE62AYBWVHZ68WJ9YSH3$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DDE62AYBWVHZ68WJ9YSH3:0" ]	[]	[]	[ "Spencer Pollard", "News", "News", "Reviews", "Showtimes", "Photos", "Message Boards", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[ "IMDb" ]	null	Spencer Pollard - News - IMDb - Movies, TV, Celebs, and more...	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm2759244/news/	A recent interview from Sundance 2015. CEO of Kaleidoscope Film Distribution Spencer Pollard started his career as a tax advisor in media and film. He worked for the world’s biggest independent record producer with a team that managed and recorded acts like Beyoncé. He then entered television and film distribution, and went on to start an international division for a Us sales and distribution company where he setup finance for the TV series “Wolverine and the X-Men”. He went on to acquire the Marvel library for distribution in the UK and Western Europe. Pollard shares the start, the success and slate of Kaleidoscope, and also gives some good business advice for filmmakers. Please talk about how Kaleidoscope started. I started Kaleidoscope with four titles. After nearly seven years, we are now the 15th biggest distributor in the UK, handling fifteen theatrical movies a year and 40-50 home entertainment titles. We sell, market, and distribute for third party labels, and release about 100 films a year. We handle rights for home entertainment, TV, digital, and have years of experience in sales and distribution. We started Kaleidoscope’s International Sales and Distribution arm in Toronto back in 2010. We did this because we wanted to be involved in projects during their earlier stages, and wanted to be in control of sales and distribution rights on a major level. As the market has diversified and changed, both in the UK and internationally, our business now focuses on two things — mainstream commercial genre films with great casts and larger budgets, and festival films that can play at festivals like Sundance, Toronto, or Berlin. We were very active in Sundance last year, where we picked up four films. Kaleidoscope covers all genres? We cover most genres, but we don’t do focus on foreign language art-house films. There are companies that are far better and dedicated with these specialty films. If we focused on art-house, it would take away from what we do well. In terms of our upcoming slate, “Glassland” had its premiere at Sundance, and we are screening it in Berlin as well. We have a genre film called “Digging Up The Marrow” by Adam Green, who has a great fan base because of his film “Frozen” and the “Hatchet” trilogy. We are also selling “I Am Big Bird”, a documentary that has made it into many of the Us film festivals. It’s an intimate portrayal of the last living Sesame Street puppeteer. He has played Big Bird and Oscar the Grouch since day one, and is now 81. It’s a lot of fun, and Sesame Street resonates with many people. We have a rap film in production called "Hustler's Convention" which we hope to premiere in Tribeca. It will also screen at Cannes. It’s about the first ever rap album that sold a million copies through airplay alone, with talking heads from people like Chuck D, Melle Mel and Krs One. We have a sports documentary that we hope to premiere in Toronto later this year. It’s the story of the thirteen founding women of the Lpga Tour. It goes into the sexual discrimination and country club mentality that these women had to break through to become female professional golfers. Last year, Stacey Lewis from the Lpga donated 1,000 dollars for every birdie she got, which has resulted in her donating over 120 thousand dollars to this production. We have two animated films that will launch in Cannes. Both are British productions with A List casts and, by the time Cannes comes around, there will be fully finished scripts, animation scenes to show, and confirmation of A list voice talent. Why are you passionate about your work? I think film distribution can be a lot of fun, but ultimately it’s a business. It’s still predominantly my company and my money, so we take a very sensible but aggressive risk approach. We try to give creative producers, directors and talent as much free range as possible. We love to work with producers and talent who’ve made things before, but we’ve also financed and distributed more independent British films than any other UK distributor over the last five years. We’re very keen on productions with an international market value. Many British films just get made for a British audience — we don’t sell those films. We carry films with a strong international base. It’s a great position to work from. We want to keep our focus on a focused slate of film sales. We don’t have 300 films per year, and so our smaller slate allows us to give the best return to the filmmakers we work with. We like to work on high quality projects with filmmakers who are passionate and want to make films with us into the future. Long-term partnerships help us grow as a business. What is it that you wish a lot of filmmakers could understand before they even come to you? If you’re a first time producer or director, and you feel you’ve got something special, my advice is to find an experienced person to attach to the project. That’s the first hurdle. You need someone who understands film financing, sales and distribution to get a film made. If you’ve just got a script and nothing else - no money, no cast, or you’re a first time director - you’re going to be at the back of the line. It’s just impossible to consider when we’ve got 1,000 scripts to read. We get excited when there’s a great script with a cast attached. Filmmakers need to find sales and distribution people that like the project and feel that there is a place for their films in the marketplace. For every 5,000 films that get made, only 300 of them find distribution. It's a scary statistic! I truly believe that creative people should be given the freedom to make what they want, but they need feedback and guidance from people in sales and distribution and a real understanding of the business and numbers. Established production teams will send us films and say, “If we make 10 million dollars in the box office numbers, it will go back to the production and be profitable.” They completely forget about the publicity and advertising (P&A) that the distributor puts into the film and the shares the distributor takes by risking this investment. Business wise, it’s never as attractive as they think, so we hope we can help the financing, production and sales, and distribution life cycle of a film and genuinely return to the investors and producers enough money for the film to go ahead... Learn more about Kaleidoscope and its slate here.
4383	dbpedia	2	5	https://ideas.fandom.com/wiki/ThinkFilm	en	ThinkFilm	https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547	https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547	[ "https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547", "https://static.wikia.nocookie.net/ideas/images/e/e6/Site-logo.png/revision/latest?cb=20231024202547", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Idea Wiki" ]	2024-07-29T22:27:06+00:00	ThinkFilm (stylized as TH!NKFilm) was a U.S. film distribution company founded in September 2001. It had been a division of David Bergstein’s Capitol Films since 2006. On October 5, 2010, five of Bergstein's companies in the film industry, Capitol Films, ThinkFilm, R2D2, CT-1 and Capco were...	en	https://static.wikia.nocookie.net/ideas/images/4/4a/Site-favicon.ico/revision/latest?cb=20210823084823	Idea Wiki	https://ideas.fandom.com/wiki/ThinkFilm	ThinkFilm Type Subsidiary Fate Bankruptcy Founded September 2001 Defunct October 5, 2010 Headquarters New York City, New York, U.S. Parent Capitol Films Divisions Velocity Home Entertainment Website http://www.thinkfilmcompany.com/ ThinkFilm (stylized as TH!NKFilm) was a U.S. film distribution company founded in September 2001. It had been a division of David Bergstein’s Capitol Films since 2006. On October 5, 2010, five of Bergstein's companies in the film industry, Capitol Films, ThinkFilm, R2D2, CT-1 and Capco were forced into Chapter 11 bankruptcy by a group of creditors led by the Aramid Entertainment film investment fund seeking payment for outstanding debts of $16 million. It's assets were later acquired by Tartan Entertainment. This led to a Hollywood legal battle involving Bergstein, his financial partner, Ronald Tudor, the creditors and various lawyers and companies in the industry.
4383	dbpedia	3	34	https://www.theguerrillarep.com/blog/tag/Film%2BMarkets	en	Film Markets — Film Business Blog — Guerrilla Rep Media	http://static1.squarespace.com/static/641c70c6404e8240d813222f/t/64b8275fd53e9e04a54b9c8d/1689790310875/Film+Business+Blog.jpg?format=1500w	http://static1.squarespace.com/static/641c70c6404e8240d813222f/t/64b8275fd53e9e04a54b9c8d/1689790310875/Film+Business+Blog.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1694533796632-2G0DYCNN9FGJPY034TV0/The+Issues+preventing+the+emergence+of+Regional+Film+Commun.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1687455035608-ROYYFLWDVXMT15KEIATP/can-indie-filmmakers-survive-the-subscription-streaming-wars_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685540190410-AGMA7DEH6ELWA8A57926/what-to-expect-from-afm-2019_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/f9d1f6d0-3dd0-47a8-9450-00fcb11c0db1/afm-buyer-numbes-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685539509244-D186DNVDMHH0ODK55M3K/6-things-to-prep-for-afm-2019_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685035519117-EOLMWIW2CTYYZTFEK3N9/one-huge-don-t-when-dealing-with-film-distributors_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1685033266305-1B93EMI988WMA80W3T3Q/why-you-need-to-help-your-distributor-market-you-r-movie_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1684952971211-N6RBL2YYTWH4XTCN7442/How+did+Film+Distribution+get+so+broken.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1684952153890-VIBBDGGJ8CQO9WVMXD7M/The+IndieFilm+Payments+Problem.jpg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682876533209-SHF54WCD2W6SY66I488N/7-things-to-prepare-before-a-festival_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682875380597-5912CWVEESG0J3IV5408/how-to-get-your-movie-on-netflix-blog_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682872512574-SPS10QQQJBQBAQSFFCDM/printed-materials_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682802326885-YUEE1M7A49NUYXXQ0CV3/when-to-contacts-a-rep-sales-agent_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682801371403-NAGJ0R5FONZQV473GWGT/5-takeaways-from-afm-2018-001_1_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682774554063-S4HKCE1B53LFWP5V9GLT/bp-series-marketing_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682706552546-OG5X9B2863XF9BD06UXO/the-4-stages-of-indiefilm-investment_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682705758090-SPKRVMZMYGTB39FKVYO3/6-questions-to-ask-yourself-before-self-distribution-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1682696096729-IP0NGR35ZHONUUX8XHX3/9-things-i-learned-from-my-first-theatrical_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680882557919-1SETJXPPPBNJ5GK7ZF6I/entreprenuer-exclusive-001_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680879714579-BZZNTULMGUGC9V2HVBJH/may-images-005_orig.jpeg", "https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/1680878106033-GCK000TZIEXPNW85Z9PZ/march-18-facebook-images-003_1_orig.jpeg" ]	[ "https://www.youtube.com/embed/Ov2K0uDEDGE?si=h3Hz7vuT-CYPML3B" ]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/b01f6638-445a-47b7-a5b2-90fd18c71b66/favicon.ico?format=100w	Guerrilla Rep Media	https://www.theguerrillarep.com/blog/tag/Film+Markets	General Business Ben Yennie General Business Ben Yennie The 5 Pervasive Issues Preventing the Emergence of New US Film Hubs If you want to succeed as an indie filmmaker, you need to have a network and a community. Trouble is the only major film communities in the US are New York, LA, and Atlanta. What’s stopping us from fixing that? This blog identifies problems we need to solve to expand beyond the coasts. If you’re a filmmaker, you probably already know a lot of other filmmakers in your area. If you don’t, you should. That’s one reason why film community events are absolutely vital for the independent film industry. It’s far from the only reason that communities of independent filmmakers are vital for your success as an independent filmmaker. I’ve been involved with a few film community organizations ranging from Producer Foundry to Global Film Ventures, and even the Institute for International Film Finance. I’ve also spoken at organizations across the country. From the experience of running more than 150 events and speaking for a few dozen others, I’ve noticed some commonalities across many burgeoning independent film communities, so I thought I would share some of my observations as to why most of them aren’t growing as quickly as they should. Without further ado, here are the 5 pervasive problems preventing the growth of regional film communities. Lack of Resources It’s no secret that most independent films could use more money. It’s true for film communities and hubs as well. In general, most of these community organizations have little to no money unless they’re tied to a larger film society or film festival. Unfortunately being tied to such an organization often prevents the work of community building due to the time and resources involved in the day-to-day operations of running a film society or the massive commitment that comes with running a film festival. Compounding the issues with a lack of resources is that a community organization built to empower a regional film community isn’t something that you could raise equity financing from investors. Projects like this are much better funded using pages from the non-profit playbook. There are organizations looking to write grants specifically for film organizations seeking to empower communities. You can find out more about the grant writing process in this blog below. RELATED: Filmmakers! 5 Tips for Successful Grantwriting. While local film commissions do provide some support to locals, their primary mandate is generally built for a different purpose that I’ll discuss in the next of my 5 points. Most tax incentives emphasize attracting Large Scale Productions, not building local hubs Most film tax incentives are heavily or sometimes even entirely oriented on attracting outside productions as a means to bring more revenue to the city, state, region, or territory. This is understandable, as many film commissions or offices are organized under the tourism bureau or occasionally the Chamber of Commerce. Both of those organizations have a primary focus on attracting big spenders to the local area in order to boost the economy. RELATED: The Basics of Film Tax Incentives This mandate isn’t necessarily antithetical to the goal of building local film communities. There is nearly always a local staffing requirement for these incentives, and you can’t build an industrial community if no one has work. Some of the best incentives I’ve seen have a certain portion of their spending that is required to go to community growth, as San Francisco’s City Film Commission had when I last checked. Given that the focus of the film industry is focused on attracting outside production, there is often a vacuum left when it comes to building the local community and infrastructure as a long-term project. Additionally, given that film productions are highly mobile by their very nature using tax incentives to consistently attract large-scale projects is almost always a race to the bottom very quickly. If a production can simply say to Colorado that they’ll get a better deal in New Jersey, then the incentive in Colorado fails its primary purpose. Eventually, these states or regions will continue a race to the bottom that fails to bring any meaningful economic benefit to the citizens of the state. While the studies I’ve seen on this often seem reductive and significantly undervalue the soft benefits of film production on the image and economy of a state, the end result is clear. If all states over-compete, eventually the legislatures will repeal the tax incentives. After that, outside productions will dry up. When this happens, local filmmakers are left out in the cold. The big productions that put food on the table are gone, and there’s no meaningful local infrastructure left to fill the void that the large studio productions left. Creating a film community is a long-term project with Short Term Funding. It takes decades of consistent building to create a new film production hub. People often have the misconception that Georgia popped up overnight, and this isn’t true. While the tax incentive grew the industry relatively quickly on a governmental timescale, I believe the tax incentive was in place for nearly a decade ahead of the release. Georgia’s growth was greatly aided by local Filmmaker Tyler Perry’s continual championing of the region as a film hub. Most of the funding apparatuses available for the growth of film communities are primarily oriented toward short-term gains. That makes long-term growth a difficult process, but if cities and regions outside of NY, LA, and ATL are to grow it needs to be a part of the conversation. There are some organizations out there pushing to build long-term viable film communities outside of those major hubs. Notably, the Albuquerque Film and Music Experience has a great lineup of speakers for their event in a few weeks. I’m one of those speakers, so if you’re in the area check it out, and check out this podcast I did with them yesterday. It’s hard to bring community leaders together As I said eat the top, I’ve been involved with and even run several community organizations. One consistent theme I’ve noticed is that most community leaders are very reticent to work with each other in a way that doesn’t benefit them more than anyone else. This means that one issue I’ve seen consistently is that while there are disparate factions of the larger film community throughout most regions it’s nearly impossible to bring them together to build something big enough to truly build a long-term community. Most filmmakers and film community leaders are much happier being the king of their own small hill than a lord in a larger kingdom. Filmmaking is a creative pursuit, and it requires some degree of narcissism to truly excel. This is amplified when you run a local film community. Sayer’s Law states: “Academic politics is the most vicious and bitter form of politics because the stakes are so low.” If you replace the word “Academic” with “Filmmaking” can be said for the issue facing most film communities. Call it Yennie’s Law, if you like. #Sarcasm, #Kinda. I discussed this in some detail with Lorraine Montez and Carey Rose O'Connell of the New Mexico Film Incubator in episode 2 of the Movie Moolah podcast, linked below. The industry connections for large-scale finance and distribution generally aren’t local. If you’ve read Thomas Lennon and Robert Ben Garant’s book Writing Movies for Fun and Profit you’ll already know that LA is the hub of the industry, and if you want to pitch you need to be there. Given the fact I live in Philadelphia, I believe it should be fairly clear I disagree with the particulars of the notion the overall sentiment remains true. Also, if you haven’t read it click that link and get it. It’s a great read. (Affiliate link, I get a few pennies if you buy. Recommendation stands regardless of how you get it.) If you want to make a film bigger than at most a few million dollars, you’re going to need connections to financiers and distributors with large bank accounts. You can find the distributors at film markets, but all of the institutional film industry money is in LA. While you may be able to raise a few million from local investors, it’s really hard and it is an issue facing the growth of independent film communities nationwide. Another issue is around the knowledge of the film business and the logistics of keeping a community engaged and organized. While I can’t help too much with the latter, I can help you and your community organizers on the knowledge of the film industry with my FREE film business resource Pack! It’s got a free e-book, free macroeconomic white paper, free deck template, free festival brochure template, contact tracking template, and a while lot more. Just that is more than a 100$ value, plus you also get monthly content digests segmented by topic so you can keep growing your film industry knowledge on a viable schedule. Click the button below! As I said earlier, I’m speaking at AFMX this year. If you like this content and you’d like to have me speak to your organization, use the button below to send me an email. Check the tags below for more related content! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie Can Independant Filmmakers Survive the Streaming Wars? Everyone talks about the streaming wars, and even though the dust is already settling, we should make sure to examine the lasting effects of the subscription streaming wars. It’s no longer a controversial statement that streaming has changed the whole game for independent film distribution. It hasn’t been controversial for quite a while. However, it is becoming apparent that not only has streaming changed the game, it might as well have become the game, at least here in the US. That’s not really a good thing for Indies. Here’s why. Streaming has made such a vast library of content available people don’t need to buy movies. The biggest reason that Subscription Video On Demand streaming has engulfed the entire media landscape is that it’s put a giant library of films at the fingertips of anyone for only around 6-15 bucks a month for most platforms. It’s putting entire on-demand catalogs that are even more convenient than owning a film on DVD. It wasn’t so big a threat when there were only a few companies in the space, but once HBO blew the doors open with the launch of HBO NOW the writing was on the wall for those of us paying attention. We all knew that Disney and Warner would follow. With Disney+ putting a gigantic pile of legacy content on their platform, it’s going to get harder and harder for independent films to compete. Physical Media used to be the primary way people could watch films when they felt like it. It used to be that licensing a film to A TV station was pretty lucrative, and didn’t really affect your physical media sales. In fact, it often increased them. People didn’t want to have to wait around for your film to screen if they liked it, so they bought the disk. Yet SVOD companies license a film, and for the term of the license their subscribers can just watch the film wherever, whenever they want. This level of convenience has made it significantly more difficult for filmmakers and distributors to sell content for a transactional fee which has a much higher margin per unit sold. When Netflix started the game, it was still just one platform, and many people didn’t have the level of internet needed to stream without a significant amount of lag. This result often ends up that filmmakers and distributors are left with whatever the license fee for each film is, and will see little to no revenue beyond those licenses. It basically means that not only is streaming taking up a much bigger part of a given film’s revenue mix, it’s also shrinking the pie. With so many platforms and so much content, there must be lots of licenses and acquisitions being made though, right? It depends on how you’re looking at it. Sure, these platforms are creating massive amounts of content, and acquiring still more. However, the price they tend to pay for acquisition is lower than you’d think, and some of the terms tend to be a bit unreasonable. For originals, it’s a long road requiring a strong package that 95% of filmmakers will never reach. You might think that many new platforms are going to be looking to make even more original content in order to make sure subscribers keep paying for their content. There’s some truth to that, but the problem is that there are so few outlets likely to survive the streaming wars that the system of gatekeepers that the streamers were supposed to break may become even fewer than they were before. The big problem here is that there are A LOT of these same sorts of platforms seeking the attention of an oversaturated audience and market. The impact is that there’s a lot less money to go around for indies, and much of the consumer base is just subscribing to a few services, and not buying a lot outside of that. So unless a filmmaker has a strong engaged audience, they’re not going to be able to compete. Essentially, the SVOD wars intensify the problem creators have been facing for several years, and that’s the fact that while anyone can get their film out there, getting anyone to see it is an entirely different matter. It all comes back to audience engagement. This comes back to one thing. Build and engage with your audience, and create content that speaks to them on a deep level. It needs to evoke an emotion or speak to an experience that no one else can. In order to succeed, we Indies need to defragment our market and find our tiny place in it. We don’t need to be 8 people’s 6/10, we need to be 2 people’s 10/10. Thanks for reading. This one was more of a think piece than my general practical advice. Let me know what you thought about it in the comments. If you like this and want more, please consider joining my mailing list, you’ll also get a great film business resource pack that includes templates, a free ebook, a whitepaper, and more! Get more related content via the tags below! Read More Distribution Ben Yennie Distribution Ben Yennie 5 Things to expect from the 2019 American Film Market #AFM2019 Film markets were changing even before COVID. Here’s an analysis from 2019. AFM this year will be interesting. Here’s the current state from someone who’s been going for 10 years, and has been a Practicing Producer’s rep for 6 years. Two quick things before we get started. First, You should definitely go to AFM at least once. It’s eye-opening, and if I hadn’t done it I probably wouldn’t have a career. Second: These opinions are mine alone, and have not been approved, endorsed, or otherwise condoned by the International Film and Television Alliance (IFTA) owner of the American Film Market. (AFM is also a Registered Trademark of the IFTA.) And with that, we’re on to the less optimistic (or legal) parts of the current state of AFM and Film Markets. Film Markets could be in trouble. All Film markets might be in trouble. I’ve spoken with many buyers, and they’re pretty much ready to pack up shop. There’s nowhere near as much money in it as there used to be, and it’s difficult to contuse to turn a profit in this changing landscape. They’re not going away in the next year or so, but they are likely to recede over time. AFM is Becoming much more filmmaker focused in their marketing, which means less involvement from Buyers and Sales agents. AFM Themselves have been shifting focus to their filmmaker services and somewhat away from their buyer and exhibitor services. That's not necessarily a bad thing in general. It's what I tend to do with content like this, but I go for a very different customer set than AFM has historically. Buyer numbers have been on the decline for a few years, and if they continue to decline it will be difficult to attract the higher-priced exhibitors, and the culture of AFM and all markets is likely to change. The Image below should help illustrate my point. The current system is prone to collapse in a down economy 2008 was Terrible for AFM. I’ve been expecting a recession to happen at any point since around this time last year. While the time that I was expecting it to happen seems to have passed, I’m still convinced of an impending recession, but willing to admit I might have missed the timing and the immediacy. In any case, when the recession happened in 2008, the market dried up and it still hasn’t fully recovered. If we were to see another recession, it might spell the nail in the coffin for AFM and potentially the entire market scene. What would replace it has yet to be seen, as after Distribber’s recent collapse it will be very interesting to see how filmmakers can get their films out there. Buyers have been on the decline for a few years. I mentioned this above, but total buyer attendance have been on the decline for the past 2 years. It’s difficult to tell whether the size and number of deals have been increased, but given that the number of tickets sold on the top 100 box office films have remained largely stationary despite the box office revenue going up as well as a few other metrics and the general sentiment of my contacts on the sales agency side I’d be inclined to doubt it. Again, if buyers dry up, sales agents won’t keep coming. When I’ve talked to sales agents about this over drinks, there’s a feeling of extreme pessimism bordering on depression about the current state. AVOD and SVOD buyers likely to be the biggest players this year. Given that many believe there’s a looking recession, SVOD and AVOD players are going to be even more sought after than they already are. AVOD is free for all, and SVOD doesn’t require extra payment on the consumer end. Given that the economy is a house of cards, many people who are struggling financially are more likely to cut services and stop buying individual rentals. They might even cancel subscriptions, which is likely to lead to a greater viewership of TubiTv, PlutoTV and other similar services. Thanks so much for reading. If you want more on AFM, Check out Last Week’s blog, my first appearance on IndieFilm Hustle, or my book. Also, if this all seems a little dauting, consider submitting your film via the link below. Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 6 Things for Filmmakers to Prepare for the 2019 American Film Market #AFM2019 If you want to get the most out of the American Film Marktet, you need to prepare. Here’s what you need. With AFM 2019 right around the corner, it’s time for filmmakers to prepare for the market and do their best to get a traditional distribution deal. For those of you who don’t know, AFM is still the best place for American Filmmakers to get traditional, non-DIY distribution. So, with that in mind, here are the major things you need to prepare. Also, For legal reasons, I need to say that the following: The American Film Market® AFM® are registered trademarks of the International Film and Television Alliance® (IFTA®) Any and all Opinions expressed in this video are Not Endorsed by the International Film and Television Alliance® or leadership at the American Film Market. Just in case you'd rather watch than listen, Here's a Youtube Video on this topic! Leads Lists You need to know what sales agents and distributors you want to submit your film to. This starts with research and leads lists. You need to figure out which sales agents tend to work in your genre and budget level, what similar films they’ve helped sell recently, what their current market lineup is, whether they require recognizable names, and who the name of their acquisitions lead and CEO are. To make your job easier, I put a free template in my resources packet which you can get by signing up below. Join my mailing list and get the FREE AFM Advance contact tracking template. Trailers You need to get their attention, and a trailer is a great way to do it. I’ve gotten limited theatrical agreements based on an excellent trailer. See that trailer here. If you don’t have a trailer, you can submit without it. However, it will be much less likely to achieve the desired results. Pitches There are elements of an indie film pitch. I tackle the topic in extreme detail in my book, but here’s an overview of what needs to go into that 10-30 second pitch. Title of Film Stage of development Any attachments Genre Sub-Genre/Audience Budget Range Check out my book on Amazon for the full chapter Related: What investors need to know about your movie Key Art You’ll need a poster, even if it’s a temp poster that’s eye catching and will convince the sales agent they can move units. It can be a temp poster, but it needs to invoke the spirit of the film and imbue a sense of intrigue for anyone who looks at it. Promotional materials Once you’ve got the key art, you can use it to create promotional materials. One of those would be a quarter page flyer, another may be a tri-fold brochure. I’ve included a pages and word document for use at festivals in the resources packet, but it could be modified for AFM. If I get a few people tweeting at me or commenting the want it on my youtube videos that they’d like that, I might make it. Screening links If your film is done, you need screeners. The distributors will need to see it, and they’ll probably want a Vimeo screener. Youtube unlisted or private won’t due, as the compression on Youtube makes it difficult to see all the technical issues with the film. If you can get it out in advance of the market, all the better. It normally takes a few markets to start seeing money from your film if you don’t get a minimum guarantee. Getting that started would be in the best interest of all involved. Thanks so much for reading. If you liked this and want more, come back next week for what you should expect from AFM 2019, as well as where the market seems to be heading. OR, if you can’t wait, you could listen to me on Indie Film Hustle Talking about AFM. You could also check out my book! It’s the first book on Film Markets, used as a supplemental text in at least 10 film schools, and is still the highest selling book on film markets. Check it out on Amazon Prime, Kindle, Audiobook on Audible, Online at Barnes and Nobles, Your Local Library, and anywhere books are sold. Also, join my email list to get a great indiefilm resource package totally free! Check the tags below for related content Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie One HUGE Don't When Dealing with Film Distributors There are many things you SHOULD do when selling your film with your distributor. There’s one BIG thing you should NEVER do. As with nearly anything in life, there are dos and don’ts when you; ’re dealing with your independent film distributor. Also as with most things in life, there is (at least) one thing you can do that will irreparably harm your relationship with that distributor and might even result in legal action taken against you. What is it? Read on to find out. DON’T GO AROUND YOUR DISTRIBUTOR OR SALES AGENT TO SELL YOUR FILM Once you sign with a producer’s rep, sales agent, or Distributor for your project, they have the right to negotiate on your behalf. Many buyers won’t deal with filmmakers directly, so the point of contact will either be your producer’s rep or Sales agent. While most buyers will appreciate the filmmakers helping to push the film, they will not be so grateful for reaching out to the buyer directly about reports, or any other form of unapproved contact. This isn’t to say that you shouldn’t help promote your film in ways that it makes sense to do so. See the blogs below for reasons why. Related: WHY you should help your distributor MARKET your MOVIE Related: HOW to Best COLLABORATE your Distributor MARKET your Movie The biggest takeaway for how to market your movie that you can take from the blog above is to only post approved links. If you’re smart, you’ll also include Vimeo on Demand and Vimeo OTT as a holdback for you to sell the film through your own website. Distributors tend not to utilize that right, so it’s generally something that you’ll be able to negotiate. It’s included as a holdback in my standard template contracts for the filmmaker’s country of origin. I do stipulate that it’s generally subject to advisement regarding the timing of the release. Another thing that you should be fine “selling” is whatever you need to fulfill any crowdfunding obligations like DVDs, Blu-Rays, and TVOD Screeners. Although again, you should make sure to negotiate this into your distribution agreement. That said, it’s never been an issue, although it might be subject to the same sort of advisement on timing as the Vimeo on Demand example above. If you distributor does not agree to either of the stipulations above, you should consider walking. Here are some tips on vetting your distributor/Sales agent, and producer’s rep. Related: How to vet your distributor/Sales Agent Related: How to Vet Your Producer’s Rep The biggest thing you need to keep in mind is that no matter how much you disagree with the choices on artwork and marketing made by the distributor, you should not post any unauthorized sales links. If you do, you could be putting yourself in a pretty massive legal liability. This one came out a little short, but thanks for reading anyway. If you like it and want to see more content like this, you should join my mailing list. You’ll get monthly blog digests segmented by topic, it’s like a short e-book in your inbox every month FOR FREE! You’ll also get access to my resources packet, which includes an actual e-book, whitepaper, several templates, and more! Finally, if you’ve got a project you’d like a guiding hand through this process, I offer individual consultation, as well as consideration for my distribution, marketing, business planning, and financial services packets, use the submit your film button. Thanks, and see you next week. Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie Why you NEED to HELP your Distributor Market your Movie (If They'll Let You.) Distribution and Marketing aren’t the same thing. Your distributor should excel at making your film available, but you’ll still need to drive attention. Here’s why. If you think your work is over when you finish making your film, and someone will just give you a few hundred grand more than it cost to make it so you can make your next one then you’re in for a real wake-up call. Sadly, there’s no money in making films, only in selling them, and the work of selling them is no longer solely on your distributor. Or, at least you shouldn’t count on it being that way. Here’s why. But before we get started on that, it’s worth a few sentences analyzing the distribution and marketing are related, but NOT the same thing. So what is the difference between film marketing, film sales, and film distribution? The simplest way to put it is that Distribution is making your product available for sale, and marketing is convincing end consumers to buy it. Sales is the process of getting it to the various distributors. Now that that’s done, on to the topic at hand. Also, before we get started it’s important to note that not all distributors will accept your help. Some control and participation in your home market should be part of your negotiation with your distributor if you’re dealing with them directly or your international sales agent if you’re not. 1.More sales and more money for everyone! If you want to make money from your film and have the distributor keep the marketing for the film intact, you’re going to have to give them a reason WHY they should listen to you. As such, you’ll have to help push the film out there. Also, after they recoup the money they put in, you will be taking the lion’s share of future sales, so it does have a dramatic impact on not only how much you get paid, but also how soon you get paid. Also: most distributors don’t do a lot beyond the initial publicity push. If you want to continue sales and generate awareness of your movie, you’ll need to keep talking about it. 2. Marketing your work builds your brand In the words of Alex Ferrari of Indie Film Hustle, "if you don't think you need a brand as a filmmaker, you're wrong. Generally, a brand is defined as every interaction you have with customers or potential customers. So the first step in building your brand is building awareness of your work. That means marketing your movies. Do make sure not to be spammy or a jerk about it though. No one likes a jerk. Unless you’re a wholesaler to the jerk store. #DatedReferences Related: 5 DOs and DON’Ts for selling your film online. 3. You’ll get a much deeper understanding of the process If you want to make a career in film, you’ll need at least a cursory understanding of what it takes to sell a film, unfortunately, there’s no money in making films, only in selling them. Getting a much better idea of how this process works will make it easier for you to make a salable film in the future. 4. Helping Gives you a better idea of what’s going on with your movie One of the biggest frustrations faced by many filmmakers is not understanding what’s going on with their films. One of the best ways to stay in the loop is to help your distributor with marketing. This can give you a lot more up-to-the-minute data that you can act on to make better marketing decisions and with luck get closer to creating a positive feedback loop of sales. Admittedly, in the current system that’s A LOT of luck. 5. If you’re putting the work in, your distributor will be more likely to take your requests. If you’ve got more face time, and your film is performing well, your distributor is more likely to make pitches they might not otherwise make. Part of that comes down to perspicacity, and part of it just comes down to numbers. Thanks for reading! If you liked this post, please share it with your filmmaking community on your social media, or drop a comment down below with your thoughts about what you’d like to know about film distribution, grab my free Indiefilm business resources packet for an e-book, a whitepaper, a bunch of templates, and more. As you may know, I don’t just talk about distribution, I’ve run companies that do it, and still connect filmmakers to the better players in the game. If you’d like your film to be considered, use the services button below. That’s my primary business, in fact. Check out the tags below for related content. Read More Distribution Ben Yennie Distribution Ben Yennie How Did Film Distribution Get So Broken? Filmmakers know the system sales agents use to exploit their content is well, exploitative. The issue runs deeper that dishonesty. Here’s an exploration. It’s no secret that many (if not most) filmmakers think film distribution is broken. While there are many reasons for it, part of it is due to the rapid change in the amount of money flowing to distributors, and what constituted effective marketing. What works for marketing films now isn't what worked in the past, and the systems distributors built themselves around have fallen apart. Here's an elaboration. First, some history. Independent Film Distribution used to be primarily a game of access. By controlling the access and becoming a gatekeeper, it was easy to make buckets of cash. If you had a VHS printer and access to a warehouse facility that could help you ship to major retail outlets you could make literal millions off of a crappy horror film. In those days it was also significantly harder and significantly more expensive to make a film, as you’d need to buy 16mm or 35mm film, get it duplicated, cut it by hand using a viola, and then reassemble it and have prints made. This was a very expensive process, so the number of independent films that were made was much smaller than it is today. Then DVD came along, and around the same time some of the early films from the silent era that actually had followings entered the public domain. As such, a good amount of companies started printing those to acquire enough capital to buy libraries and eventually build themselves into major studios. Sure, DVD widened the gate a bit, but it also expanded the market so everyone was happy. Around this time, Non-Linear Editors and surprisingly viable digital and tape cameras were coming into prominence. As a result, it became much more possible to make an independent film than it was before. Of course, at that time it was still beyond the reach of most people, and since the average amount of content being made went up, the demand was growing enough that there still wasn’t a massive issue with oversaturation. A similar expansion was expected with Blu-Ray, but at around the same time, alternative services like iTunes were starting to become viable as broadband internet was becoming commonplace. As such, the demand for physical media started to dwindle, and as a result, the revenue being made dropped. At the same time, Full HD cameras were now very affordable, and some even rivaled 35mm film. So the amount of money being made in the industry went down, and more films were being made than ever before. Shortly after that, the ability to disintermediate and cut out the gatekeepers came to be. As such, the market became flooded with often low-quality films that the challenge was no longer getting your film out there, it was now getting your film noticed. That’s where we are now, and nobody has fully been able to solve that problem yet. Here’s a summary of how we got there, and how the process of distribution has changed. Access USED to be enough It used to be that access was all you needed. Once you had that, you could make an insane amount of money selling other people’s content. Sell it on the box art The box art being caught was the most important thing. Stores didn’t let you return movies because you didn’t like them, and other than your own limited circle of friends consumers didn’t have a lot of power to let people know about bad movies, or bad products in general. Sell it on the trailer Even if it was bad, nothing would come of it. Once you had their money, that was all you needed. The idea of making your money in the first weekend before bad word of mouth got around was much more viable as people couldn’t just tweet it out or rant about it on Facebook or YouTube. Let’s contrast that with how things work Now: Access is easy Anyone with a few thousand dollars can put their film up on most Transactional platforms on the internet. You can also put it on Amazon or Vimeo yourself for free. There are very few in terms of quality controls. the Poster/keyart is still important, but reviews are more important. Sure, people still get their eyes caught by a poster. But the reviews matter significantly more in terms of getting them to a purchase decision. The poster may catch their eye, but the meta score from users on whatever platform you’re watching the film on is important. The trailer might still be the deciding factor Generally, after people see the poster, they’ll read the synopsis, and then they’ll either watch the trailer or read the reviews. If they watch the trailer, they may have more leniency on reviews. Also, if the trailer is really good, it can get a bit of viral spread. If it’s bad, it will become known. Thanks to social media, if the film is bad it’s not hard to let people know about it. If the film is mismarketed, people will know. As such, authentic marketing to the film is extremely important. Thanks for reading! If you liked this blog, you’ll probably like the stuff you get on my mailing list. That includes a film marketing & distribution resource packet, as well as monthly digests of blogs just like this one. Or, if you’re researching whether or not you want to self-distribute your independent film, you might want to submit it. I have hybrid models for distribution that help filmmakers build their brands, and get the right amount of visibility for their films so they can rise above the white noise. Check out the buttons below, and see you next week! Check the tags below for free related content! Read More The Problem with the IndieFilm Distribution Payment System If you’ve got an issue with your sales agent or distributor paying you, it’s not neccessarily on them. (although it might well be.) either way, Its important to understand how money flows in this industry before you go at them. A lot of filmmakers I’ve worked with don’t know enough about distribution to really make a career making creative content. This shouldn’t be a surprise, as it’s something film schools tend not to teach. That being said, there’s a part of the equation most people just don’t talk about, and WHY it takes so long for filmmakers to get paid? This blog addresses that. As an aside, this is laid out from a financial perspective in the blog below. However, we will also be tracking how much of the money goes away throughout this blog. This will admittedly be very much oversimplified, but we’re going to be tracking it as a single dollar for ease of understanding. Related: Indiefilm Waterfalls 101 How long it takes for the platform to pay the aggregator I talk about this in workshops quite frequently, but each different stakeholder takes a while to pay the next person in the pay chain. Most of the time, this starts with the platform and aggregator relationship. In general, this is the first section in the chain. Normally, the platform will take 30%-35%. This should include credit card processing fees. So if the consumer gave 1 dollar, then we’re down to 65-70 cents. While exceptions exist, the platform most often pays the aggregator on a monthly basis. After that, the aggregator will need to pay the distributor. If you’re self-distributing, that distributor is you, but not all aggregators will deal with you in the fashion you’d prefer, for more information, read the blog below. RELATED: What platforms should I release on? How long it takes for the aggregator to pay the distributor Once the aggregator is paid, the money will flow to the distributor. As I stated, this may be you. Depending on what aggregator the distributor is using, payments will be either monthly or quarterly. Sometimes the aggregators that pay quarterly have lower overheads, so it might make sense to wait. That said, I think the most current data you can get is necessary to make smart marketing decisions. If you still don’t know the difference between a sales agent and a distributor, check the link below. Most aggregators operate on more of a flat fee model, so we’ll assume that the money is passed through. If you worked with an aggregator, you end up with about .70 cents for every dollar the consumer spent, but you also probably had to put the aggregation fees in yourself, so you’ll probably need to sell around 2100 copies (assuming they sell for 2.99 each) to break even. You’ll also get insights within 2 to 4 months. Related: What’s the difference between a sales agent and a distributor? How long it takes for the Distributor to pay the Sales Agent Most distributors don’t deal with filmmakers directly. They’ll either deal with a Producer’s Rep or a Sales Agent. Generally, Distributors pay quarterly to start and sometimes will move more towards bi-annually after a few years. This can be arduous, but it’s very difficult to negotiate. Generally, the distributor will take 30-40%. (As of publishing this, I take 25% for direct US Distribution.) So of the 65-70 cents, we had after the platform. That means that after the distributor takes their cut, there are between .39 and .49 cents left to the filmmaker. (or around .52 cents if you work with me) Also, even though I am a distributor, I work directly with filmmakers. So you’d keep .52 cents on the dollar, and be paid around 4-5 months after the initial sale is made. (I time my reports to work with my aggregator to minimize wait times. Plus, I cover aggregation and the majority of marketing and publicity fees. Related: What does a producer’s rep do anyway? How long it takes for the Sales agent to pay the production company Finally, the sales agent pays the Producer’s Rep and production company. This is also generally on a quarterly or Bi-Annual basis, although there’s more room for variation here. After that, the filmmaker uses the money to pay back debts, then investors, then whoever else is left to pay back from the production. The Sales Agent normally takes between 20% and 30%, but they sell territories across the globe. A Producer’s Rep will normally take 10% of the money paid to the filmmaker, and will normally be paid in line with the sales agent. So, following the chain we talked about before, by the time the sales agent pays the filmmaker, we’re looking at between .27 and .39 cents on the dollar without a producer’s rep, or between .24 cents and .35 cents with one. That’s not a great representation of what a good producer’s rep will do for you though. (including the potential to get you paid immediately from the first sale) I’ve painted these deals in the most simple possible light to help you understand, but there are lots of single-line items that can screw you if you’re not careful. So, while the producer’s rep may take a small piece of the pie, (.03 to .04 cents on the total dollar) they can help you make the whole pie a fair amount bigger. Thanks so much for reading! If you have any questions for me, you might want to check out my mailing list. I send out monthly blog digests including ones JUST LIKE THIS, plus you get lots of great resources like templates, links to money-saving resources, and a whole lot more! Or, if you’ve got a completed project and you’re looking for distribution, submit it using the link below. You can also learn more about services for early-stage projects using the other link. I’ll review it and reach out soon. Check out the tags below for more related content! Read More Marketing Ben Yennie Marketing Ben Yennie 7 Things to Prep BEFORE STARTING your Festival Run If you want to find success at film festivals, you need to prepare. Here’s a guide. Far too many people consider the festival circuit as the be-all and end-all of their marketing and distribution plans. While there are quite a few things wrong with that approach from a distribution standpoint. (See last week’s blog here for an outline of why) film festivals can be a great way to market your film. Although getting ready to attend a film festival is generally a bit hectic. There’s always a lot to do, and it’s easy to forget something. So with that in mind, I’ve prepared a prioritized list of the top 7 marketing assets you’ll need to prep before going to a film festival. 1. Business Card If you bring nothing else, you should bring a business card. Well, also a set of clothes I suppose, but I digress. If you want to make lasting connections, you need a way to follow up with people. If you want people to follow up with you, they’ve got to have a way to reach you. Simply saying that you’re easy to find online is not really an acceptable answer at networking events like this. It’s far too easy to forget that they were going to reach out at professional events like this. 2. All your social media pages Set up and active As we discussed last week, a big part of the reason to attend film festivals is to build your brand and build awareness of your film. You want to make sure your film is easy to find online, and that there’s a way you can establish a connection with anyone who might want to buy it in the future as soon as you’ve connected with them at a film festival. For more, check out this article I wrote on proper Facebook management. Related: How to manage your indiefilm facebook page 3. Your Website Its 2019. Your film needs a website. Even if it’s just a splash page going to your social media outlets. The only reason this is below social media is that if you’re going to drive people to your website when you’re not at a festival, you’re going to need something like social media to do it. For more information on what should be on your website, check out the blog below. Related: 13 things you NEED on your Production Company Website 4. Printed Materials to give away Even a business card can sometimes be hard to remember, and it’s nowhere near enough to capture the attention of the overworked journalists that may attend this film festival. That’s why you need larger, harder-to-lose festival printouts. These can give all the information a time-strapped reporter would need to write a quick blurb about your film, and direct to something like an EPK for more detailed information. Learn more with the article below. Related: Printed materials for your festival run But speaking of EPK… 5. An EPK (Electronic Press Kit) Every filmmaker will have assets that would be useful to a reporter, but not really something that could be easily handled by a printed brochure. That’s where an EPK comes in. The EPK is more detailed information and assets that can be used by a journalist or reviewer. It should have blurbs, links to your trailer, sizzle reels, and interviews if you have them. For more information, click the link below. Related: Everything you need in your Indiefilm EPK 6. An Email List Capture page Going back to your website, if it’s anything more than a simple splash page, you need a way to capture the email address of people visiting your site. With their consent, of course. This will be much more valuable to you than almost any other social media, as it’s more static and doesn’t change its terms as often as other platforms may. Although that’s been less true as of late with Gmail’s aggressive filtering systems. Related: 5 Steps to Grow your Indiefilm Email List 7. A Giveaway for people joining your list Finally, if you have an email list set up, you should give something away to entice people to join. I’ve listed 5 ideas for filmmakers below, as the standard fallbacks of ebooks, and other marketing giveaways aren’t always valid. Check the article below to see what I mean. Related: 5 Giveaways for your IndieFilm Email Marketing Thanks so much for reading! If you want more content like this, you should join my mailing list. Just as it says in #7, I have a few giveaways for you including a monthly blog digest and a FREE Film Marketing Resource package! Check out the tags below for related content Read More How to Get your Movie on Netflix Everyone wants to get their film on Netflix, but it’s a lot easier said than done. Here’s an outline. Many filmmakers and even more film consumers just want to know when work will be on Netflix. In recent years, this has become more difficult than it was previously. IT used to be that it was a relatively easy sale to get on Netflix, although the money wasn’t very good. More recently, the bar has been raised substantially, and the money you get for it hasn’t increased as much as we may have liked it too. What follows is an outline of how to get your film on Netflix, both as an original and as an acquisition. How do I become a Netflix original? To become a Netflix original, you must be picked up by Netflix early on in development. Generally, you’ll need to have contacts that can get you into meetings with the higher-end development executives at Netflix. You’re also going to need to have a strong script and package already in place. You might even need some money already in place, although that’s less important given the way most of their original deals are structured. At this point, if they take the project you’ll get a Presale stating that the money will be paid to you once the film is delivered complete. After that, you’ll have to take it to a bank to liquidate the presale so you’ll be able to make the movie on the likely ambitious schedule they’ll put you on. Generally, the pay for this is pretty good, looking very similar to other high-end presales. If it’s well managed, and you focus on financing sources like tax incentives as part of your mix, you’ll make a decent wage and everyone involved will end up much better off. Including your investors. Make sure you don’t send them any copyrighted material without them requesting it, that’s a blacklist you don’t want to be on. Acquisitions. What Netflix pays for acquisitions is a different matter, as is the process for your film being acquired by Netflix. First, it’s important to note that you can’t approach Netflix yourself. You will need to go through either a localized distributor or a sales agent to get to Netflix. I do have contacts in this department, but it’s not something I’ve done a lot of business with directly. Netflix has also gotten extremely picky about this in the last few years, favoring their original content. If I’m completely honest, I also wouldn’t pay some of the better-known aggregators to make this approach for you. Given the volume of business that goes through them, it’s generally a very low success rate. Sure, some of them will refund money if unsuccessful, but often there are hidden fees and the money is tied up for a decent amount of time. When the fees from those aggregators are in excess of 10k, that’s not really good for most filmmakers. To be clear, this is not something Netflix itself charges. It used to be that Netflix would take almost any content that was able able to meet broadcast standards. and they thought they would get a decent amount of views for it. In recent tears, however, Netflix’s Acquisition strategy has been refocused to only accept films with a domestic theatrical, often demanding 6 figures at the box office to even consider the film. While there are ways around this, it’s inadvisable to much other than work with a reputable distributor who has deep connections to the platform. In regards to their distribution payments, there’s a lot more that I’d love to say but really shouldn’t say publicly due to existing contractual obligations as well as other concerns regarding pending business. DVDs Through the Mail Most of the time when people think of Netflix, they think of their Subscription Video on Demand offering. However, there are a surprising number of people who still subscribe to their DVD offering which was rebranded to DVD.com. Generally, the way Netflix gets these DVDs is by simply buying discs at wholesale from the manufacturer. They don't tend to buy too many DVDs, so even if you're getting lots of rentals you end up not making a whole lot of sales. Most of the time, they buy fewer than 100 DVDs, which is less money than you probably think it is. You don't see any money per rental beyond the initial purchase price. That said, since DVDs are almost always non-exclusive rights, the additional revenue does help, although it's nowhere near the amount of money you'd see from something like a Redbox deal because they don’t order as many discs. At least, that was true before RedBox's IPO and subsequent Acquisition. Thanks so much for reading! I hope this blog was useful to you. If you’d like to learn more, I recommend joining my mailing list for regular blog digests and other resources about film distribution and marketing. Click below for more information. Check the tags below for related content Opinions expressed in this piece are not in any way endorsed by Netflix, Its parent company, or any subsidiaries. Opinions expressed within are solely those of Guerrilla Rep Media, LLC and its founder, Ben Yennie. Read More Marketing, Community Ben Yennie Marketing, Community Ben Yennie The Printed Materials you Need for Film Festivals and Markets If you want to get the most out of a Film Festival, you’ve got to maximize it as a promotional opportunity for you and your work. Here are some things that might help. Most filmmakers only think about festivals when they’re getting ready to market their film. There are lots of reasons that this line of thinking is flawed, however, it would take far more than a 600-800 word blog to even begin to touch on them. However, if you’re going to have ANY level of success from your festival run, you’re going to need some really snazzy printed materials. This blog outlines a couple of examples I’ve used personally and had success with. Why you need Good Printed Materials Just getting into a festival is no guarantee people will see your movie. Generally, you have to spend a good amount of time and energy driving people to your screening. One of the most effective ways to do that is by having them a tangible piece of paper that has all the information they’ll need on it. Generally, the cheapest thing you can hand them is a postcard, however, for festivals, I strongly prefer a Tri-Fold Brochure. The Tri-Fold Brochure has more space for everything a reporter or reviewer may need to know about your project, all put into a piece of paper that can be easily turned and segmented to group relevant pieces of information. The point of getting into a film festival is less about getting people to see your movie, and more about validating your film and giving it a chance to get meaningful press coverage. Both of these things are significantly more likely to happen if you can make a reporter’s job easier by giving them all the information they need in one compact piece of paper. Postcard Outline Generally, you’ll want the promotional art for your project to take up the front of your postcard. If you don’t want it to take up the entire front of your film, you could leave a space for screening times towards the bottom. If you want to get more use out of these cards, you could also leave a space that can be covered with a return address mailing label on the bottom where you can put the time and locations of screenings at this festival. On the back, I’d put a synopsis, information about the director, and maybe a little bit about how the film was shot. You probably won’t have space for much else. Brochure Outline I’ve added a template for this in my resources section, but I’ll outline what I mean here. On the front panel, you’ll want to put the key art, where the film is screening (The mailing address label works well here too), and maybe your social media links or where they can purchase the film. When they open the brochure, on one of the two panels you reveal you’ll want to put some stills from the film to add visual interest. On the other panel, they’ll see when they open your brochure, you’ll want to outline your production company, including your creed/mission statement and other projects you’ve made. Then they open the other panel, you’ll want them to see photos and bios of your key cast and crew. On the back panel, you’ll want a bit more art, a bit about what you’re working on next, the next steps for the film, and then a press contact and a link to download your EPK. If your film is available for sale anywhere, you’ll also want to include that there. I actually a template of this format for MSWord and Apple Pages. You can find it in my FREE Resource package alongside other templates. Click the tags below for more free content Read More Marketing, Distribution Ben Yennie Marketing, Distribution Ben Yennie When should you Contact a Sales Agent/Producer’s Rep about your Film? If you want to make movies more than you want to monetize them, you’ll need a sales agent or producer’s rep. Here’s when you should reach out. Seeing as how a majority of my business still comes from representing filmmakers to sales agents and distributors, it’s unsurprising that a question I get at my events and in my inbox quite often is when is the best time to approach a producer’s rep, sales agent, or distributor. Well, as with many things I tend to blog about, there’s a short, true, and mostly unhelpful answer to that question. There’s also a longer, more nuanced, and more correct answer. This blog attempts to answer both in under 800 words. The Short Answer: As soon as you realistically can Marketing a film on a budget isn’t something you can do overnight. It takes a while to build a social media presence, as well as to build up a base to market your film to. It’s not something that can be done efficiently overnight, so you’ll want to get some marketing support on your project as soon as possible. That’s why you hire either a producer’s rep or a Producer of Marketing and Distribution (PMD). The Long(er) Answer: When you can afford them, and they’re willing to come on your project. Most people tend to approach Producer’s Reps and PMDs only when their film is completed, or even after the initial festival run of the film. This can shut a surprising amount of doors for you. I had one client who submitted to Sundance and was rejected outright. The next year, after I connected him to US Distribution, the distributor talked to a programmer at Sundance who said that they would have accepted the film and programmed had it been brought to his attention. Unfortunately, they’d given premier status to another, smaller festival so it was too late. PMDs and Distributors often have connections to help get you past the initial round of screening at major festivals, which can be all you need to actually get into the festival. 99 films out of every 100 submitted to Sundance don’t get in. 90 out of 100 of those are declined by extremely low-paid (or unpaid) staffers who look for any possible reason to decline so that the submission queue is more manageable for the actual festival programmers. If you have the right rep, PMD, or distributors they can help you bypass that first layer of screening, giving you a huge leg up. How much will this cost you? Producer’s reps tend to get a bad rap for charging up front. If all they’re doing is brokering your film to sales agents, and they’re taking a commission, then they really shouldn’t need to. I don’t. However, if I’m writing a business plan, deck, pro formas, or developing a financing, festival, marketing, or distribution strategy, I do charge upfront. We all have bills to pay, and just as you should always pay all other members of your crew, you should pay your producers too. My services are packaged based on need, more information on my services page. Generally, it’s wise to allot some money for marketing as soon as you create the initial budget for your film. You should do this even if you plan on raising it at a later date, say after completion of principal photography. It may be wise to keep this budget separate given a distributor will most often foot some of the bill and sometimes it can bump you into a higher guild tier. Related: The 4 Stages of Film Financing If you’re raising money for prints and advertising, then you should allocate some of that money to a Producer of Marketing and Distribution (PMD) or Producer’s Rep to help you execute your marketing plans efficiently. Essentially, if you’re looking for a rep to do anything other than broker a completed film, you had best expect them to charge you some money upfront. Unless the Sales agent pays you a minimum guarantee, it’s unlikely that the film or the filmmaker will get paid anything for about a year after the initial signing. You can’t expect a Service provider to wait even longer than that to make any money, especially when there’s a significant amount of work involved in the creation and execution of the work you’re asking them to do. If you want more resources to help you distribute your film, you should grab my free film business resource pack. It’s got an e-book, a whitepaper, a deck template, a film festival promotional brochure template, and a whole bunch of money and time-saving resources. Also, if you need a producer’s rep, check out my services page. Check out the tags below for related content Read More 5 Takeaways from AFM 2018 A legacy port of my breakdown of the 2018 American Film Market. I’ve been going to the American Film Market® for 9 years now, and I’ve been chronicling what’s going on with the market in many ways from podcasts to blogs and even a book or two. So given that AFM® 2018 wrapped up yesterday, I thought I would do something of a post-mortem. While I’ll outline my feelings on the whole thing in this blog, the long and short of it is that the state of the American Film Market is mixed But before I dive into it too deeply, I’d like to say this. My vantage point on this is purely my own, and subject to the flaws that one would expect from experiences of someone only attending the market for a few days this year. I went on an industry badge because I simply needed to take a few meetings to check in on things I’ve already placed with Sales Agents, as well as shop a couple of my newer projects to the people I prefer to do business with. I considered exhibiting this year but decided against it after hearing how slow Cannes was in May, as well as the massive drop in buyers AFM Experienced last year. We’ll see how that changes next year. One last note, I wrote this blog in traffic in LA, while my wife drove. I normally don't publish first drafts, but it's time-sensitive, so apologies for any typos. So without Further Adieu, let’s get into the post-game. 1. Buyer numbers appear to be up, and they’re buying Word in the corridors last year was that AFM went from around 1800 buyers in 2017 to around 1200 buyers in 2017. After talking to a few sales agents who shall remain nameless, it appears that the total buyer count at this year’s AFM is somewhere in the vicinity of 1325. While walking the corridors I definitely saw a lot more green badges than last year. Not only were there more buyers there. It appears that they’re actually buying films. I heard several sales agents remarking that they had closed multiple sales at the market, and the buyers were sticking around much longer than they have in years previous. Overall, this is good for the market, especially given that for many years almost all of the business was done in follow-up not actually during the market, especially for smaller-budget films. 2. Exhibitor numbers appeared to be down In previous years, both the second and third floors of AFM were packed with smaller sales agencies, This year, only the third floor was booked and even then it seemed as though fewer offices were booked. Also, it appeared that many of the offices on the 8th floor seemed to be vacant. After talking with a few exhibitors, it appears likely that this trend is going to continue next year. Several I talked to were unsure of whether or not they would continue to exhibit at AFM. Although we’ll see if new names come up to take their places. 3. The Entirety of the Loews required a badge to access This made a lot of headlines prior to the market. I was hesitant to believe that this would be a good thing for the market, particularly for the high priced film commission exhibitors on the 5th floor. I only showed up to the market on Saturday, but apparently it was extremely quiet for the days preceding it. The market seemed somewhat slow to me, but mildly busier than I expected it to be on Saturday, and, but began steadily dropping off on Sunday and Monday, and Tuesday was VERY slow, even by the generally slow standards of what is functionally the last day of the market. Word on the street is that many of the regular exhibitors on the 5th floor were not too happy with it, especially for the first few days. Although I’ll keep my sources on that anonymous. One notably missing 5th-floor exhibitor was Cinando. It’s possible they moved, but the spot that they normally occupied was vacant. This could be due in part to the growing prominence of MyAFM. In some ways, it was nice, though. It was never too hard to find a seat, and once you got into the building there were no additional security checks. Not sure if that makes up for the drawbacks though. 4. The Location Expo on the 5th floor was fantastically useful, but under-attended AFM opened one of the Loews Hotel Ballrooms for use by film commissions and specialty service providers starting on Saturday. It was really useful to be able to talk to various commissions and compare incentives. However, there very few times I saw more than a handful of people there, and I dropped by at least 8 or 9 times because of various sorts of business I had to do with some of the vendors in the rooms. (More soon) Overall I hope to see it again, but I can’t help but think it would be more useful to all involved if it were in an area that did not require a badge to check out. 5. Early Stage Money exists there (For the Right Projects I was surprised to see how much traction my team got for an early stage project, despite the fact it has a first time feature director. Admittedly, we came in with a good amount of money already in place, and it’s a good genre for this sort of thing but the fact that there might be a decent amount to come out and report in blogs early next year. Thanks so much for reading! If you haven’t already, check out the first book on film markets, written by yours truly. Also, join my mailing list for free film market resources so you’re ready for future film markets. GET THE BOOK ON AMAZON JOIN MY MAILNG LIST! All opinions my own. AFM and the American Film Market are registered trademarks of the Independent Film and Television Alliance (IFTA) This article has not in any way beed endorsed by the IFTA, AFM, or any of its affiliates. Read More How to Write an Independent Film Business Plan - 4/7 Marketing Section If you want to raise money from investors, you’re going to need a plan. A business plan, to be exact. Here’s how you write the marketing section. In this installment of my 7 part blog series on business planning, we’re going to take a look at the marketing section of the plan. This section is likely to be the longest section, as it encompasses an overview of the industry, as well as both marketing and distribution planning. Generally, this section will encompass 3-5 pages of the plan, all single-spaced. This is among the most important sections of the plan, as it is a real breakdown of how the money will come back to the film Industry In this subsection, you’ll want to define some key metrics of the film industry. You’ll want to include its size, how much revenue it brings in, and ideally an estimate of how many films are made in a year, as well s the size of the independent part of the film industry vs the overall film industry. If you want help with some of those figures, you should look at the white paper I did with ProductionNext, IndieWire, Stage32, and Fandor a few years back. To the best of my knowledge, it’s still among the most reliable data on the film industry. The fact that the film industry is considered a mature industry that is not growing by significant margins is also something you’ll also want to mention. You’ll also want to talk about the sectors of growth within the film industry, as well as where the money tends to come from for independent producers, and a whole lot of other data you’re going to have to find and reference. As mentioned above, the State of the Film Industry book linked in the banner below has much of this information for you. Overall, this section should be about a page long. The best sources for Metrics are the MPA THEME report and the State of The Film Industry Report. You can find links or downloads of both of those in my free resource pack. Marketing The marketing subsection of the plan goes into detail about both the target demographics and target market of your film, as well as how you plan on accessing them. To quote an old friend and long-time silicon valley strategist Sheridan Tatsuno, Finding your target market is like placing the target, and marketing is like shooting an arrow. For more detail on how to go about finding your target market, I encourage you to check out the blog below, as my word count restrictions will not let me go too deeply into it here Related: How do I figure out who to sell my movie to? Figuring out how you’re going to market the film can be a challenge for many filmmakers. Generally, I’d advise putting something more detailed than “smart social media strategy.” I tell most of my clients to focus on getting press, appearing on podcasts, and getting reviews. Marketing stunts can be great, but timing them is difficult to pull off. All of this being said, you’ll need more to your marketing strategy than simply going to festivals to build buzz. The marketing category at the top of this blog, as well as the audience, community, and marketing, tags at the bottom of the page, are a good place to start. Distribution This section talks about how you intend to get your film to the end user. This section should be an actionable plan on how you intend to attract a distributor. This section should not be “We’ll get into sundance and then have distributors chasing us!” I hate to break it to you, but you’re probably not going to get into Sundance. Fewer than 1% of submissions do. The biggest thing you need to answer is whether you plan on attaching a distributor/sales agent or whether you intend to self-distribute. if you’re not sure, this blog might help you decide. There’s lots more to it, I’d recommend checking the distribution category or the international sales tag on this site to learn more of what you need to write this section. Related: 6 questions to ask yourself BEFORE self distributing your indiefilm Somewhere between a quarter and a third of all the blogs on this site are devoted to distribution, so there’s lots of stuff here for you to use when developing this plan. If you want to develop more of a plan than distributing it yourself, it’s also something I’d be happy to talk to you about it. Check out my services page for more. If that’s a bit too much for you but you still want more information about the film business, check out my film business resource package. You’ll get a free e-book, monthly digests segmented by topic, and a packet of film market resources including templates and money-saving resources. This is part of a 7 part series. I’ll be updating the various sections as they drop. So check back and if you see a ling below, it will take you to whatever section you most want to read. Executive Summary The Company The Projects Marketing (This post) Risk Statement/SWOT Analysis Financials Section (Text) Pro-forma Financial Statements. Check the tags for more content! Read More The 4 Stages of Indiefilm Finance (And Where to Find the Money) Financing a film is hard. It might be easier if you break it up into more manageable raises. Here’s an outline on that process. Most of the time filmmakers seek to raise their investment round in one go. A lot of people think that’s just how it’s done. As such, they ask would they try anything else. If you have a route into old film industry money you can go right ahead and raise money the old way. If you don’t, you might want to consider other options. Just as filmmakers shouldn’t only look for equity when raising money, Filmmakers should consider the possibility of raising money in stages. Here are the 4 best stages I’ve seen, and some ideas on where you can get the money for each stage. 1. Development If you want to raise any significant amount of money, you’re going to need a good package. But even the act of getting that package together requires some money. So one solution to getting your film made is to raise a small development round prior to raising a much larger Production round. If you want to do this with any degree of success, you’re going to have to incentivize development round investors in some way. There are many ways you can do it, but they fall well beyond my word count restrictions for these sorts of blogs. If you’d like, you can use the link at the end of the blog to set up a strategy session so we can talk about your production, and what may or may not be appropriate. Related: 7 Essential Elements of an IndieFilm Package Most often, your development round will be largely friends and family, skin in the game, equity, or crowdfunding. Grants also work, but they’re HIGHLY competitive at this stage. Books on Indiefilm Business Plans 2. Pre-Production/Production It generally doesn’t make sense to raise solely for pre-production, so you should raise money for both pre-production and principal photography. This raise is generally far larger than the others, as it will be paying for about 70-80% of the total fundraising. It can sometimes be combined with your post-production raise, but in the event there’s a small shortfall you can do a later completion funding raise. It’s very important to think about where you get the money for the film. You shouldn’t be looking solely at Equity for your Raise. For this round, you should be looking at Tax incentives, equity, Minor Grant funding if applicable, Soft Money, and PreSale Debt if you can get it. Related: The 9 Ways to Finance an Independent Film Post Production/Completion Some say that post-production is where the film goes to die. If you don’t plan on an ancillary raise, then too often those people are right. Generally you’ll need to make sure you have around 20-25% of your total budget for post. It’s better if you can raise this round concurrently with your round for Pre-Production and Principle Photography The best places to find completion money are grants, equity, backed debt, and gap debt 4. Distribution Funding/P&A It’s very surprising to me how difficult it is to raise for this round, as it’s very much the least risky round for an investor, since the film is already done. Theres a strong chance your distributor will cover most of this, but in the event that they don’t, you’ll need to allocate money for it. Generally, I say that if you’re raising the funds for distribution yourself, you should plan on at least 10% of the total budget of the film being used for distribution. Generally you’ll find money for this in the following places. Grants, equity, backed debt, and gap debt. If you like this article but still have questions, you should consider joining my email list. You’ll get a free e-book, monthly digests of articles just like this, segmented by topic, as well as some great discounts, special offers, and a whole section of my site with FREE Filmmaking resources ONLY open to people on my email list. Check it out! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 6 Questions to Ask yourself BEFORE Self Distributing your Film Whether to get a sales agent or distribute your film yourself is a hot topic on most film forums. Here are 6 questions you should consider to help you decide. In a follow-up to last week’s blog on self-distribution platforms, I thought we would step back for a minute and try to understand what filmmakers should consider before they decide whether or not to self-distribute their movie. This blog is a list of potential parameters you might want to go by. It’s not the only things you should take into account, but they are some factors you’ll need to consider 1. Do you have money for promotion and aggregation? While you get to keep 100% of the money you make when you use someone like Distribbr, you also have to pay them upfront to get you on those platforms. If you use traditional distribution, generally the distributor will take on that risk for you. Also, they’ll generally pay less than distribbr would charge you in aggregation fees, so they can put more money into marketing the film. NOTE FROM THE FUTURE: If you need aggregation services, use FilmHub or IndieRights. The model is better than pay for placement even if you give up an extra 20%. Further, with traditional distribution there tend to be some notable economies of scale. One of these factors is the fact that most good distributors and sales agents will have a publicist on retainer so your film will get better press, and further reach. 2. How your social media following. If you don’t have a pretty decent social media following, then you really should consider traditional distribution. If the equation below works out to more than 1, then perhaps you should consider selling your film yourself, especially since this doesn’t factor for your personal press contacts, etc. If it doesn’t, then maybe you should look into traditional distribution. I know I'm asking you to do algebra, but if I get asked in the comments I may create a calculator that runs the math for you. ((TF0.01+FF0.05+IF0.05+OFX0.03+EL.1)(SP-PF))/OLF+5000 TF = Number of Twitter Followers FF = Number of Facebook Fans IF = Number of Instagram followers OFX=Number of other social media followings(Can repeat multiple times) EL = Number of people on your relevant email list * 0.2)* SP = Sales Price PF=Platform fees OLF=Outstanding Liabilities of the film (I.E. how much do you need to pay back investment and deferments) The 5,000 represents money you’ll have to spend to get your film out there between marketing assets like posters and trailers, publicity, and limited social media boosts. NOTE FROM THE FUTURE: This is a simplification of your marketing reach, and does not account for including how underserved your niche is as well as how much access you have to said niche. Given these calculations really only account for Transactional distribuion, it undercounts potential spread via AVOD and international sales if you seek them. I might remake this algotithm if I get enough requests. 3. What was the Budget of your film? While I’m a big fan of traditional distribution (I am, after all, a distributor) I will say that in many cases it doesn’t make sense to try to sell a film made for less than 10k unless it came out REALLY well. Generally, that equation above will also look favorably on you if your budget is that low. There are, however, cases where this is not true. 4. Do you have press contacts? Press is the most cost-effective way to market your movie. If you have a list of close contacts in the press, it can be a huge difference in your effectiveness at selling your film without help from a traditional distributor. If you don’t have them, the equation above had better result in something closer to 1.5. 5. Do you have the ability to create awesome marketing material? Can you cut a great trailer? What about make a great poster? Your distributor will have contacts for that, but you may not, and that will make a huge difference in whether or not you should self-distribute. 6. Would you rather market this movie than make the next one? This point is subjective. If you’d rather continue to market your film than make the next one, then by all means, self-distribute. If you’d rather put your energy into making the next one, then it probably makes more sense to work with some partners like sales agents and distributors. If you’re looking for those partners, I might be able to help. Just click the submit button below. For more tools and information on film distribution, you should grab my free film resource package. You’ll get a FREE e-book on the business of indiefilm, digests on the film business segmented by topic, as well as free templates to streamline financing, marketing, and distribution. Plus, you’ll get all the latest on Guerrilla Rep Media releases and occasional special offers and discounts. Check it out below! Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 9 Things I Learned from my First Theatrical Release Every filmmaker wants to see their work on the big screen, but there’s a lot more to it than you may think. Here’s what I learned the first time I played a key role in a theatrical release.. We recently came to the close of the theatrical release of Rockhaven Film’s Goodland. It played in a total of 7 cities. This was the first time I’ve been a key part of making a theatrical release work, so I wanted to share some of what I learned along the way. So here it is 9 things I learned from my first theatrical release. 1. Booking theaters is both expensive and time-consuming I tried booking a theater here in San Francisco, but in the end, I was unsuccessful. The only theater that really got back to us would only show the film on a rental, not a revenue share. We didn’t pay any of the other theaters, and we weren’t going to start in San Francisco. If we had paid them, it would have been a bit over 2,000 for 9 showings in a week. It is possible to get some films in there on revenue share alone, but if you do you often must give up the first 2-3,000 in sales directly to the theater, and generally, that’s about all you’ll make from a screen unless you can really pound the pavement and get press coverage. 2. Book local theaters, New York, and Los Angeles first. This contradicts some of what I just said, but when you’re getting started, the first theaters you need to book are New York, Los Angeles, and perhaps the screen most local to the filmmakers. New York and LA get you more press coverage and give legitimacy to your theatrical run. The local screen is generally the easiest to book. 3. You don’t always need a full week’s run. We only did 3 screenings in Buffalo, NY, but we still got a decent amount of press and a good amount of social media attention. Doing 1-3 screenings in a market makes it feel more like an event, and is a great way to build word of mouth about your film. Even if you can’t book a full week, consider booking a few one-night-only engagements to boost your presence in markets across the country. 4. Often, 1-2 shows a day is easier to sell. We had 3-5 screenings a day in Kansas City, and it was difficult to drive traffic to any one particular screening. That includes the screenings we had with Q&As after them. If you focus on one individual showing a day, it’s easier to focus your marketing efforts, and get those butts in seats for an indie movie. 5. Fewer theaters are independently owned than you think In attempting to book theaters in San Francisco, I found that only a few local theaters were independently owned. More theaters than you think are owned by mega chains like AMC, Cinemark, United Artists, and Landmark. If you’re dealing with these mega-chains, you’re likely going to have to deal with their buyers. Generally, those buyers will only want to deal with distributors. 6. Once a theater is booked you can still get bumped unless you paid the rental fee. We booked a screen in New York for the same day we opened in LA. Unfortunately, we were bumped because Avengers, Infinity War outperformed expectations. If possible, don’t try to book your indie in May, June, July, August, November, or December. That’s when Hollywood will be very likely to bump you. 7. Keep Making Noise to fill seats Once you get your theaters booked, you’re still going to have to drive local people to theaters. The most cost-effective ways to do this are via local press coverage and social media. The two work very well together. Keep your audience engaged by sharing news on your facebook page, twitter, and Instagram whenever there’s news to be had. Related: 5 Dos and Don'ts for Marketing your Movie on Social Media 8. Press coverage is key: Local Press can be very cliquey. Local Press coverage is among the best ways to drive traffic to your movie. However, it can be difficult to get. It should surprise precisely no-one reading this list that some film scenes are very cliquey, and some of those people from the film scenes end up in positions of power at general press outlets. They may not cover your movie just because you’re not one of the cool kids. It sucks, but it is what it is. It would be difficult to change their mind, so just move on to other outlets if that’s what you’re running up against. 9. In the end, if you've made ANY money you've done well. Finally, there’s not really a lot of money in theatrical runs themselves. There is a lot of additional money to be had in having had a theatrical release. If you end up getting beyond your distributor’s recoupable expenses, you’ve done VERY well. The additional money you’ve gotten from these outlets is likely to have a marked impact on your TVOD sales and your SVOD sales price. I might be making some announcements about how that worked for Goodland on our Facebook page, soon. I hope this was helpful to building your indie film career. If you’re embarking on your own journey through distribution, you should make sure to grab my FREE indie film resource package. It’s got lots of templates to help you talk to distributors, tools to help you raise funding and even exclusive money-saving resources. Check out the tags below for more related content Read More Why Exclusivity is GOOD for Filmmakers A lot of filmmakers are afraid to give up exclusive distritbution or sales rights out of fear of loss. Unfortunately, such a mindset all but guarantees loss of revenue. Here’s why. In closing contracts, one question I get asked a lot is why distributors, sales agents, and producer’s reps need exclusivity when we do our jobs. Sometimes, this question even comes from the lawyers of my clients. I understand there is risk when giving someone the exclusive right to represent your project, so I thought I would write up a blog post examining exactly why we need exclusivity. Generally speaking, the goal is not to tie up your rights and make it so you can’t do anything with them. There are lots of other reasons why sales agents or producer’s reps need exclusivity. To truly understand the need for exclusivity, one must first understand the nature of our business. We deal in the buying and selling of rights to infinitely replicate content. If something can be infinitely replicated, the only way to ensure it's value is to control who has the right to produce it, or to authorize others to replicate the content. I can guarantee you that any sales agent you would actually want to work with will require exclusivity at least for international. If you try to negotiate their exclusivity out of a contract, I can guarantee you will not be successful. It's the nature of the business. In fact, if you try to negotiate too much to be non-exclusive, then you’ll likely just end up scaring off the sales agent. Buyers want exclusivity, and if the sales agency doesn't have exclusivity, then they can't sell it to the buyer. Producer's reps have less necessity for this normally, but if they work directly with domestic buyers, then they will generally need exclusive rights for similar reasons to why a sales agent needs exclusivity to sell international rights. As a more practical example, let's say that two sales agents each have the right to sell your film. There are a lot of territories for which only a few buyers come to the market. There's a good chance that the sales agents would both know these buyers. If the buyer can buy it in one of two places, then the two sales agents will just undercut each other to make the sale, and the filmmaker ends up hurt. Giving Sales Agents exclusivity actually protects the filmmaker, if the deal is done properly. Further, almost all license fees and deals with a minimum guarantee require exclusivity. The buyer doesn't want to pay good money for a film, only to have it air on the competition's channel or platform at the same time. Of course, if you're looking at Transactional VOD, this is not really the case, but those deals generally don't pay up front. Also, that's essentially an aggregation deal. I'll admit, a producer's rep needs exclusivity less than a sales agent. Since most of what Producer’s Reps do often involves shopping the film to sales agents, so long as there's a lit of who I'm approaching that's separate from who you would be approaching, there's room to negotiate. However, since I act as a sales agent for North America, I at least need exclusive rights domestically for exactly the same reason. Also, to avoid issues, if you’re working with a producer’s rep non-exclusively, then you’ll need to list what companies that producer’s rep will handle. If you don’t, you could be in for a tricky legal battle down the line, in case multiple approaches are made to the same company. So I’d like to thank you for reading and say that I hope you found it helpful. If you did, you should grab my FREE Film Business Resource Package. It’s got a free e-book called The Entrepreneurial Producer to grow your filmmaking career, templates for investment decks, film festival brochures, and other money and time-saving resources. Check it out below. Check out more related content by clicking the tags below. Read More Distribution, Marketing Ben Yennie Distribution, Marketing Ben Yennie 5 Reasons Traditional Film Distribution Still Matters to Indie Filmmakers A lot of Indie Filmmakers are all about Self Distribtuion to keep more money themselves. While it’s an understandable notion, it’s often counter-productive, here’s why. When you look at most of the other bloggers and podcasters talking about indie film distribution, a lot of them are very convinced that aggregators like Distribbr are the only solution that a Filmmaker needs. As a Producer’s Rep, I disagree. A good sales agent, distributor, or producer’s rep may each take a piece of the pie, but if they do their job well they’ll also make the pie significantly bigger, increasing the payout for all involved. Here are 5 reasons why a traditional distributor or sales agent is still a necessary partner. 1. Distribution and Marketing are their own Skillsets Unless you happen to have a background in marketing or a huge social media following, it’s not likely you’ll even make back the money you put into the aggregation fees. It’s a surprising amount of work to get the amount of money you need to pay back fees upwards of a thousand dollars to put the film on iTunes. Distributors also help market the film. It’s all they do, so they’re generally pretty good at it. (At least, if you get the right ones) In addition to cutting the costs of aggregation and paying them out of a recoupable expense, Sales agencies and distributors will also often put money into a publicist, social media ads, and other marketing expenditures that will help your film make more money for all involved. 2. It's generally No/Less Money Up Front If you use an aggregator or even a company like FilmHub or IndieRights, all marketing expenditures are on you. This includes posters, trailers, publicity, social media ads, and more. If it were me, I’d much rather give up a piece of the action to have someone else cover some of these costs up-front. 3. Not Every Avenue is Truly Open Without a Local Distributor No matter what people tell you, not every avenue is completely open to self-distribution. Theatrical is rare for most indie films, but unless you want to give up 90+% of the take, or pay a few thousand dollars per screen per week. pay a large amount of money to a platform or directly to theaters, you’re not getting into theaters. If you work with the right distributor, they MIGHT be able to book you some screens. I’ve helped in organizing several theatrical releases of up to 50 screens per film. The way we did it avoided paying up front. Filmmakers generally don’t have the specialized knowledge or relationships to make that happen. Further, other outlets most often won’t get you into Cable VOD, or SVOD other than Amazon rentals, even though they may claim they have the ability to. 4. Local Distributors Control Specialized Knowledge Do you have any idea how to localize a film for South Korea? What about Germany, Italy, or Mongolia? I’m a Producer’s rep, and while I might have an idea of who would buy any given film on a territory-by-territory basis, I couldn’t tell you how best to market a film in every country across the globe. That said, I do know people who do, and I know lots of people who can get it to the territories I can’t and I also know what they tend to pay for that content. Successfully selling a film internationally involves a lot of highly specialized skills most filmmakers simply do not possess. They’re the sort of skills that take decades to perfect. So if you want your film to be truly exportable, then you should consider working with some partners to help you capture the foreign market. 5. Marketing is Much More Effective with Multiple Partners. Multiple voices pushing your film will do a lot more than yours alone. Working with Producer’s Reps, International Sales Agents, and distributors will amplify your voice and help it rise above the white noise to really take your project to the next level. Without multiple experienced partners helping spread the word about your film, it can cost significantly more to raise awareness of your film. I get this is a lot. If you want to learn more about it, you should check out my FREE Indiefilm Resource Package. It includes an E-book, lots of form letters, tracking templates, and other templates to help you get in touch with traditional distributors, and a monthly blog digest that will help you better understand the industry and improve your knowledge base in a sustainable way. Check out the tags below for more, related content. Read More
4383	dbpedia	2	97	https://metro-films.com/about-us/	en	Metro International Entertainment	https://metro-films.com/…am-471x324-1.jpg		[ "https://metro-films.com/wp-content/uploads/2021/05/metroSvg.svg", "https://metro-films.com/wp-content/uploads/2021/05/metroSvg.svg", "https://metro-films.com/wp-content/uploads/2021/05/metroSvg.svg", "https://metro-films.com/wp-content/uploads/2021/05/metroSvg.svg", "https://metro-films.com/wp-content/uploads/2021/05/metroSvg.svg", "https://metro-films.com/wp-content/uploads/2022/05/pic_will-machin.jpg", "https://metro-films.com/wp-content/uploads/2022/05/pic_natalie-brenner.jpg", "https://metro-films.com/wp-content/uploads/2022/05/Sam-471x324-1.jpg", "https://metro-films.com/wp-content/uploads/2022/05/Mike-471x324-1.jpg", "https://metro-films.com/wp-content/uploads/2022/05/andy_metro.png", "https://metro-films.com/wp-content/uploads/2022/05/pic_jojo-dye1.jpg", "https://metro-films.com/wp-content/uploads/2022/05/Marc-Bijum.jpg" ]	[]	[]	[ "" ]	null	[]	2014-02-07T12:25:05+00:00		en	https://metro-films.com/wp-content/uploads/2014/04/favicon.ico	Metro International Entertainment	https://metro-films.com/about-us/	Prior to becoming a partner in Metro International Entertainment, Will was head of Ealing Metro International, created through a merger between Ealing Studios International and Metropolis Film Sales. Before the merger, he was Head of Distribution at Ealing Studios International (DORIAN GRAY, ST TRINIANS franchise) responsible for international distribution and day to day operations at the company. He was previously head of the Capitol Films (GOSFORD PARK) specialist division, Thinkfilm International where he was responsible for a diverse slate of films from directors such as Nigel Cole and Alex de la Iglesia.Between 2003 and 2007, Will worked at UK production company, Carnaby Films PLC (RISE OF THE FOOTSOLDIER, LONG WEEKEND) where he launched the international sales arm, Carnaby International before taking on additional duties including financing, business affairs and overseeing production on all Carnaby titles. Between 1999 and 2003, Will worked for Lolafilms (THE DANCER UPSTAIRS, JAMON JAMON), Spain’s leading film production, distribution and sales company, owned by multinational media and telecoms company Admira (formerly Telefonica Media). As Co-President of International Sales, he was responsible for world-wide sales and acquisitions as well as English language co-productions. Having worked in Canada and the UK in production, Will began his career in film sales and distribution in 1996 as a sales executive at Capitol Films. Natalie Brenner’s career in film started in 1987 working alongside the legendary PR Theo Cowan looking after UK stars that included Michael Caine and Jeremy Irons and handling press for a then newly created Channel 4. In 1989 she joined J&M Entertainment and worked for almost a decade as a senior international sales and marketing exec working on a formidable slate of films from KISS OF THE SPIDER WOMAN, to WHAT’S EATING GILBERT GRAPE? and with directors such as John Boorman, Paul Shrader, David Mamet and John Frankenheimer. Between 1999 and 2002 she worked at IAC Film as senior VP (Sales) before being headhunted by Film Four International as Deputy Head of Films where she closed worldwide deals on Walter Salles’ THE MOTOR CYCLE DIARIES, Shane Meadows’ ONCE UPON A TIME IN THE MIDLANDS, Gillian Armstrong’s CHARLOTTE GRAY and Jonathan Glazer’s SEXY BEAST. Following the closure of Film Four International, she set up Element X with partners bringing forth distinctive, quality-driven films such as Shane Meadow’s award winning DEAD MAN’S SHOES , Brad McGann’s acclaimed debut IN MY FATHER’S DEN and Kevin Spacey’s big budget, Bobby Darin biopic BEYOND THE SEA. In March 2006, Natalie joined Ealing Studios as International Sales and Development Consultant and a year later launched the sales arm Ealing Studios International. In addition to re-launching the Ealing brand, Natalie was responsible for the international sales and marketing of Barnaby Thompson and Oliver Parker’s ST TRINIAN’S I and II, Stephan Elliott’s EASY VIRTUE, Oliver Parkers’ DORIAN GRAY, Richard Eyre’s THE OTHER MAN amongst others. In addition to her sales role Natalie has also developed key relationships with third party producers. In 2011 Ealing Studios International became Ealing Metro International through a merger between Ealing Studios and film financier Prescience where Natalie held the position of Executive Vice President of Sales. In May 2013 the Ealing Metro Management team, led by CEO Will Machin and company directors Natalie Brenner and Sam Parker acquired a majority share in the company and rebranded the company as METRO INTERNATIONAL ENTERTAINMENT where Natalie is now a partner and Head of Sales. As one of the founding partners of Metro International, Sam’s focus is on production partnerships and acquisitions whilst also working as an international sales agent, negotiating and licensing film rights to a variety of distributors in established and emerging markets. Sam joined Ealing Studios in 2009 as assistant producer where he worked on films such as John Landis comedy BURKE AND HARE and UK hit, ST TRINIANS 2 before joining Ealing Metro International as Sales & Acquisitions Manager in 2011. Beforehand, he worked at the online business broadcaster Cantos Communications, one of the Brunswick Group companies. As a features producer at Cantos, Sam worked with a 3rd of the FTSE 100 companies producing short investor documentaries, interviews and programs.
4383	dbpedia	2	78	https://variety.com/2023/film/news/chicken-soup-for-the-soul-1091-pictures-lawsuits-payments-1235838558/	en	Filmmakers Take Legal Action Against Chicken Soup for the Soul Entertainment as It Faces ‘Cash Flow Issues’	https://variety.com/wp-c…000&h=563&crop=1	https://variety.com/wp-c…000&h=563&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/uploads/2019/04/linda-ronstadt-the-sound-of-my-voice-.jpg?w=1000&h=564&crop=1", "https://variety.com/wp-content/uploads/2023/11/featured_future_of_live_music.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/01/featured_amazon_prime_video_ads.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/05/MAIN-STILL-VALIDE.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/featured_taketwo_q2_earnings.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/06/MixCollage-11-Jun-2024-02-31-AM-5326.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/HolyCow_photo2.jpeg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/07/featured_imax.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2022/12/TV_Limited_NoLogo.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/powell-gosling.png?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/tarantino-toy-story.png?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/07/Inside-Out-2-new.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/MCDCROW_LG014_bab425.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Screen-Shot-2024-08-09-at-2.57.00-PM.png?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2023/12/TSDERRR_NB005.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/GettyImages-1246139783.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Joe-Locke-Variety-3.jpg?crop=0px%2C56px%2C1200px%2C832px&resize=250%2C167", "https://variety.com/wp-content/uploads/2024/08/Cheryl-Hines-Bradley-Whitford.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Todd-Phillips-Variety-Cover-Story-3.jpg?crop=0px%2C38px%2C1200px%2C831px&resize=681%2C454", "https://variety.com/wp-content/uploads/2024/08/Screen-Shot-2024-08-23-at-9.09.18-AM-1.png?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/albumcovertreatment-9-3.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Tim-Burton.jpg?crop=0px%2C56px%2C1200px%2C832px&resize=250%2C167", "https://variety.com/wp-content/uploads/2024/08/affleck-lopez-2022.jpg?w=250&h=167&crop=1", "https://www.rollingstone.com/wp-content/uploads/2024/08/yelp-tickets.png?resize=232,175", "https://robbreport.com/wp-content/uploads/2024/08/Fonteyn_HouseLD.jpg?resize=232,175", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-2160341375-e1724696551678.jpg?resize=232,175", "https://spy.com/wp-content/uploads/2024/03/SPY-ProductRoundup-ExfoliatorsandLoofahs-3132024.png?resize=232,175", "https://tvline.com/wp-content/uploads/2024/08/genesis-rodriguez.jpg?resize=232,175", "https://read.variety.com/get_image.aspx?eid=8785be11-c3b3-4e0a-8fd0-c8bdaa3819f6&w=320&pnum=3", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Addie Morfoot" ]	2023-12-20T18:30:00+00:00	Filmmakers have taken legal action against against 1091 Pictures as its parent company, Chicken Soup for the Soul, faces 'cash flow issues.'	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2023/film/news/chicken-soup-for-the-soul-1091-pictures-lawsuits-payments-1235838558/	A number of directors are pursuing litigation against the digital indie film distributor 1091 Pictures for failing to make promised revenue-sharing payments after selling their films to the platform, now owned by Chicken Soup for the Soul Entertainment. Helmers are scrambling to reclaim distribution rights to their work out of fear that 1091 Pictures’ parent company could declare bankruptcy. Filmmakers say they are owed their share of distribution revenue from licensing deals with 1091 but Chicken Soup for the Soul Entertainment has not come through with payments. Some have taken the company to court, including small-claims court, to press their cases. Chicken Soup for the Soul Entertainment acknowledges that the company, which also owns Redbox and Crackle, has faced “cash flow issues,” as CEO Bill Rouhana told Variety. The company already disclosed that it was unable to file its third-quarter earnings information on time. “The company has been working to address cash flow issues and to pay our content owners,” Rouhana said in a statement. “Unfortunately, this has taken much longer than anyone anticipated. We are working to address these filmmakers and their concerns.” CSSE acquired 1091 Pictures for $15.6 million in March 2022. Based in Cos Cob, Conn., CSSE is rooted in the feel-good self-help book and media franchise. The company went public in 2017 with a “crowdsourced” IPO that raised $30 million. Under the leadership of Rouhana, the company has expanded in recent years with acquisitions of streaming platforms such as Crackle, formerly owned by Sony Pictures Entertainment, and Red Box Entertainment, the physical and online distribution network that has struggled amid the rise of streaming platforms. 1091 Pictures was formed by industry veterans Danny Stein and Joe Samberg through the acquisition of Orchard Film Group. Among the high-profile titles in the 1091 library are Morgan Neville’s “The Music of Strangers: Yo-Yo Ma and the Silk Road Ensemble,” Taika Waititi’s “Hunt for the Wilderpeople” and Rob Epstein and Jeffrey Friedman’s “Linda Rondstadt: The Sound of My Voice.” In 2020, director Julia Kots sold her narrative film “Inez & Doug & Kira” to 1091. According to Kots, she signed a five-year distribution contract that included a small advance upon contract signing and release. The distribution split, she says, was to be 70% for Kots and 30% for 1091, after 1091 recouped out-of-pocket costs. Payments were to be made quarterly, according to Kots. Since the film’s release in September 2020 on multiple TVOD and AVOD platforms, Kots says that she has never received a check from 1091. “I decided to go with 1091 because they were known at the time for their transparency with filmmakers,” Kots says. “They have a web-based portal where the filmmaker can log in and see all the stats — where the film plays, how much it earns each month.” Kots claims that based on a 1091 dashboard revenue tracking program, she is owed $3166.74. While that may be a small paycheck by Hollywood standards, to indie directors like Kots, it’s significant money. The director filed a small-claims court claim in November against CSSE, 1091 and CEO Rouhana. In December she sent 1091 a termination and cease and desist letter that stated a contract breach and a demand for payment. “Their stock is in the toilet,” Kots says. “They seemingly don’t care that I filed a lawsuit against them. If they were trying to raise capital or refinance, they would be negotiating to get the lawsuits dropped.” Details about 1091 and CSSE were first reported on the Steinway Piano Blog earlier this month. She is not alone in her battle to regain film rights and unpaid revenue from CSSE and 1091. On Nov. 7, filmmaker James Fox sued CSSE and 1091 via his production company, CE3, for failure to make revenue payments on two films bought by 1091 – “Moment of Contact” and “The Phenomenon.” CE3 is also seeking back the rights to both films. In December 2022, Tom Huang sold North American digital rights to his film “Dealing With Dad” to CSSE. According to Huang, his contract stated a minimum guarantee advance of $20,000 and proceeds of the film would, like Kots, be split 70/30. On May 9 this year, “Dealing with Dad” was released online on outlets including Amazon, AppleTV, GooglePlay, and VUDU for rental and purchase, as well as cable TV pay per view. Huang’s Los Angeles-based lawyer, Mark Litwak, sent a breach of contract notices to CSSE’s chief acquisitions and distribution officer David Fannon in July. Huang asserts that he has not received any payments from CSSE. “We were on a carefully laid path to make our money back for our investors who trusted us, only to have a company like Chicken Soup come in, buy out our distributor and then refuse to pay us what we are contractually owed, all for what?” says Huang. “People like this really destroy my faith in humanity. It’s so hard.” Directors Corey Goode (“Cosmic Secret”), Thomas Simmons (“Coyote: The Mike Plant Story”) and Jonathan Wysocki (“Dramarama”) are also battling CSSE for what they say are unpaid funds due. While Wysocki was told in November that he could have the rights to “Dramarama” back, he is still fighting to get his film off certain AVOD and TVOD platforms. “On December 4, I had to reach out platform by platform and send cease and desist letters,” says Wysocki. “My next step is figuring out how I get all this money I’m owed” by CSSE. Goode has also sent emails to various employees at CSSE inquiring about unpaid revenue for “Cosmic Secret,” but felt like he was getting the runaround. “Throughout all of this, they have been selling and making money off of our films while not paying us,” Goode says. “These big corporations in the entertainment industry count on the fact that indie filmmakers can’t afford to fight a long legal battle. We (filmmakers) are not sleeping well at night. We don’t know how to pay bills.” CSSE last year merged 1091 Pictures assets with its Screen Media division to bolster both companies ability to help indie directors and producers make their content available on free and paid streaming platforms as well as through other on-demand venues. The acquisition of 1091 brought about 4,000 movies and TV titles to CSSE. At the time CSSE predicted to investors that the 1091 acquisition would generate $10 million in incremental revenue and $3 million in earnings before interest, taxes, depreciation, and amortization over the course of one year. Amid CSSE’s struggles, in October three top executives at Screen Media — Amanda Sherwin, Mike Messina and Seth Needle — left CSSE to launch distribution, marketing and consulting company Blue Harbor Entertainment. Given CSSE’s public signs of distress, it’s no surprise filmmakers are turning to litigation in a bid to retrieve film rights fearing they could potentially get tied up in bankruptcy proceedings. In 2010, David Bergstein’s indie distribs ThinkFilm and Capitol Films Development went bankrupt. Many filmmakers including Ross Kauffman and Alex Gibney lost the U.S. rights to their respective Oscar winning films “Born Into Brothels” and “Taxi to the Dark Side” for close to two decades. While CSSE recently agreed to take “Inez & Doug & Kira” off their platform, in an email to Kots from a CSSE executive, obtained by Variety, the company will not relinquish its rights to the movie. “Per section 11.2 of your attached agreement, you do not have the right to terminate this agreement,” the email reads. A knowledgeable source says that CSSE want to make things right with filmmakers but currently do not have enough working capital. The Redbox deal could be partly to blame. CSSE acquired Redbox Entertainment in August 2022. The deal was valued at $375 million, comprising about $50 million in CSSE stock and the assumption of $325 million in debt. CSSE said they expected revenue to more than triple via the Redbox acquisition to approximately $500 million annually. But the company’s presentation to investors at that time indicated that its budget called for the company to obtain a working capital loan of up to $40 million secured by a first lien on the company’s accounts receivable. CSSE did not receive the $40 million loan in April 2023 from HPS Investment Partners as it expected and had disclosed in an August 2022 Securities and Exchange Commission filing. CSSE is hardly alone among small- and medium-sized media firms feeling the pinch in a fast-moving economic landscape that includes everything from rising interest rates to fever-pitch competition for streaming eyeballs and advertising dollars. “The stress now is that all of us fighting [CSSE] are all little independent filmmakers,” Wysocki says. “We are not some giant media company that’s dealing with this other giant media company. So I’m remiss to spend thousands and thousands of dollars in order to get the thousands of dollars that I’m owed. It’s infuriating because I had about 12 offers on ‘Dramarama.’ But the reality is I don’t know how I’m going to proceed.” (Pictured: “Linda Ronstadt: The Sound of My Voice.”)
4383	dbpedia	3	0	https://www.nytimes.com/2014/01/06/business/media/thinkfilm-a-short-lived-but-wily-distributor-still-influences-industry.html	en	Lived but Wily Distributor, Still Influences Industry	https://static01.nyt.com…9e3&k=ZQJBKqZ0VN	https://static01.nyt.com…9e3&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2014/01/06/business/thinkfilm1/thinkfilm1-articleLarge.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Michael Cieply", "www.nytimes.com", "michael-cieply" ]	2014-01-06T00:00:00	Alumni of ThinkFilm have become a force in an industry that has been learning to think smaller, make do with less and live more by wit than a fat bankroll.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2014/01/06/business/media/thinkfilm-a-short-lived-but-wily-distributor-still-influences-industry.html	LOS ANGELES — In two weeks, the feisty operatives of an ever tighter, tougher independent film business will gather at the annual Sundance Film Festival. Perhaps the toughest of the lot are the survivors of ThinkFilm. ThinkFilm, a small, short-lived movie distributor, briefly took the indie world by storm with provocative fare like “Half Nelson,” about a drug-addicted high school teacher, and “Taxi to the Dark Side,” a documentary about the use of torture in the American war on terror. When it closed most operations in 2008, as financial carnage hit the independent film business, it seemed destined to become just another relic of the art-house movement. Yet ThinkFilm’s influence lives on. Its alumni have become a force in an industry that has been learning to think smaller, make do with less and live more by wit than a fat bankroll. Nearly a dozen companies, many of which will be wheeling and dealing at Sundance, are rooted in the diaspora created by ThinkFilm’s demise. Some, like Long Shot Factory, are in the vanguard of a digitally sophisticated do-it-yourself movement. Others, like Tajj Media, run by a co-founder of ThinkFilm, Jeff Sackman, have narrowed their focus to an audience segment or business niche; Tajj Media, for instance, helps filmmakers find government subsidies. These companies’ vigor underscores the maturing of the independent film business. Once populated by young film school graduates turning out productions on the fly, the industry now includes experienced filmmakers and entrepreneurs. As Sundance turns 30, it is these survivors who are forming the backbone of a more seasoned indie community. Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times. Thank you for your patience while we verify access. Already a subscriber? Log in. Want all of The Times? Subscribe.
4383	dbpedia	2	39	https://neworleansfilmsociety.org/people/michael-tuckman/	en	New Orleans Film Society	https://neworleansfilmso…man-1024x911.jpg	https://neworleansfilmso…man-1024x911.jpg	[ "https://neworleansfilmsociety.org/app/uploads/2017/07/NOFS-LOGO_black.svg", "https://neworleansfilmsociety.org/app/uploads/2017/07/NOFS-LOGO_black.svg", "https://neworleansfilmsociety.org/app/uploads/2017/07/NOFS-LOGO_black.svg", "https://neworleansfilmsociety.org/app/uploads/2017/07/NOFS-LOGO_black.svg", "https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-300x267.jpg 300w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-1024x911.jpg 1024w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-768x683.jpg 768w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-747x665.jpg 747w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman.jpg 1080w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman.jpg 1080w", "https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-300x267.jpg 300w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-1024x911.jpg 1024w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-768x683.jpg 768w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman-747x665.jpg 747w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman.jpg 1080w, https://neworleansfilmsociety.org/app/uploads/2019/12/MichaelTuckman.jpg 1080w" ]	[]	[]	[ "" ]	null	[]	2019-12-16T17:11:59+00:00	Home of Cinema in NOLA	en	https://neworleansfilmso…ic-4-150x150.png	New Orleans Film Society	https://neworleansfilmsociety.org/people/michael-tuckman/	A veteran of the independent film industry for over 20 years, Michael Tuckman began his career at The Cinema Guild, where he was hired to start the company’s theatrical distribution division. Tuckman went on to serve as Vice President of Theatrical Sales for THINKFilm, handling the planning and implementation of all theatrical release strategies, including the breakout successes of Oscar-winning and nominated films including Spellbound, Half Nelson , and Born Into Brothels , as well as the box office smashes The Aristocrats and Before the Devil Knows You’re Dead . He now operates his own distribution services company, mTuckman media (MTM), through which he works directly with filmmakers under their own banners. Most notably, he has handled Koganada’s Columbus , which grossed over $1 million at the box office; Shane Carruth’s Upstream Color ; Detropia , from the Academy Award-nominated directors Heidi Ewing and Rachel Grady; and Rory Kennedy’s Academy Award-nominated Last Days in Vietnam . Others collaborations include Frederick Wiseman’s La Danse, The Paris Opera Ballet, At Berkeley, In Jackson Heights , and Monrovia, Indiana , as well as national releases for Sundance standouts such as 306 Hollywood and American Promise . MTM handled the theatrical campaign for the Academy Award-nominated documentary The Square , as well as We Come As Friends , which was named to the shortlist for the Academy Award for Best Documentary. His company also provides theatrical booking and consultation services to distributors including Tribeca Film, Drafthouse Films, PBS Films Distribution, and Paladin, among others, with releases including the 2012, 2013, and 2014 Academy Award nominees for Best Foreign Language film, Bullhead, War Witch, and The Broken Circle Breakdown , as well as the 2014 Academy Award-nominated documentary, The Act of Killing , in addition to leading the breakout indie hit of 2015, What We Do in the Shadows , to a gross of over $3.5m in domestic box office. As of the Fall of 2016, Tuckman is also an Associate Assistant Professor at the Feirstein Graduate School of Cinema at Brooklyn College, teaching a survey course on Theatrical Distribution and Exhibition.
4383	dbpedia	3	22	https://stfdocs.com/film/distribution-advice-for-2014/	en	DISTRIBUTION ADVICE FOR 2014	https://stfdocs.com/wp-c…14/01/TheDog.jpg	https://stfdocs.com/wp-c…14/01/TheDog.jpg	[ "https://stfdocs.com/wp-content/themes/pubspring-stfdocs/images/logo-stf-d21e16-150x110.png", "https://stfdocs.com/wp-content/uploads/2019/02/monday-memo-social-stf-570x317.png", "https://stfdocs.com/wp-content/uploads/2019/01/Pure-Non-Fiction-IFC-1-570x317.png", "https://stfdocs.com/wp-content/uploads/2018/12/bill-siegel-570x317.jpg", "https://stfdocs.com/wp-content/uploads/2018/12/IDAAwards18-570x317.jpg", "https://stfdocs.com/wp-content/uploads/2018/12/sundance2019-570x317.jpg", "https://stfdocs.com/wp-content/uploads/2014/01/TheDog-566x320.jpg", "https://stfdocs.com/wp-content/uploads/2016/09/Screen-Shot-2016-09-29-at-12.40.37-PM-300x124.png" ]	[]	[]	[ "" ]	null	[ "Thom Powers" ]	2014-01-09T03:42:01+00:00	Before you sign a contract, read this feedback from other filmmakers and industry insiders.	en	https://stfdocs.com/wp-content/themes/pubspring-stfdocs/favicon.ico	Stranger than Fiction	https://stfdocs.com/film/distribution-advice-for-2014/	INTRODUCTION by Thom Powers Over the years, I’ve seen too many filmmakers become embittered by their distribution deals. Sometimes they had unrealistic expectations, sometimes they got caught in bad deals. The filmmakers who feel disgruntled range from those with niche titles all the way to the most successful directors. I remember seeing an esteemed director at the Toronto International Film Festival being greeted warmly by the head of a distribution company. “That’s funny,” the director later told me, “I’m currently suing his company for unpaid royalties.” Behind the diplomatic smiles lie many untold stories. As we start off 2014 and head into Sundance, I want to explore how filmmakers can make better deals for themselves in all distribution channels: theatrical, television, digital and international. Most filmmakers go into distribution negotiations for the first time, or with a gap of several years since their previous film–which might as well be their first time in this changing landscape. That puts them at a disadvantage negotiating with distributors who are regularly making deals and confident about stipulating what’s “normal.” What filmmakers frequently lack are points of comparison. To change that I reached out to several filmmakers and other industry insiders for feedback. I’m grateful to everyone who shared their experiences. I’ve edited and condensed contributions to reduce repetition (though some points are worth repeating). Despite the pointed criticism of distribution contracts in many of the following comments, I don’t want to disparage all distributors. Among their ranks are people who care passionately about documentary films and make a great difference in their success. But often those people are in the middle ranks. Even when a filmmaker’s main contact at a distributor is conscientious, a year later that person might be gone, or the library sold to a different company. Among active distributors in recent years who have transformed or ceased operating are THINKFilm, Palm Pictures, Wellspring, Artisan, Indomina and more. When push comes to shove, a filmmaker’s rights come down to what’s guaranteed in the contract, and whether a filmmaker has the power to hold the distributor accountable. On the flip side, filmmakers have their own obligations to fulfill for the distributor to be effective. One key obligation is to be the chief public advocate for their film. When filmmakers can’t give the time to do press or public appearances or social media, they’re putting a great handicap on the distributor. Happy collaborations do exist. They are usually the result of filmmakers understanding what they’re getting into. Some of the biggest debacles I’ve witnessed have occurred with upstart distribution companies with no track record (as Marshall Curry candidly describes his own experience below). If a company has never distributed a documentary before, think twice about being the first. A notable exception in 2013 is THE ACT OF KILLING released with great passion by Drafthouse Films, a company with a solid track record for exhibition. The final section of this discussion is devoted to variations of self-releasing. Documentary film has a distinguished history of filmmakers taking charge of their theatrical release, tracing back to NANOOK OF THE NORTH in the 1920s and continuing through MONTEREY POP in the ‘60s and BROTHER’S KEEPER in the ‘90s. In recent years, technology and independent bookers have made forms of self-releasing a more viable option. This first sunk in for me six years ago during conversations with distribution strategist Peter Broderick and WME’s Liesl Copland. I asked them to deliver speeches at the inaugural TIFF Doc Conference in 2009–when was Broderick popularized the term “hybrid distribution” in his Declaration of Independence, and Copland emphasized the rising digital potential in her address Dear Theater Owners, Fear Not… Since then, their theories gained more credence with hybrid releases such as EXIT THROUGH THE GIFT SHOP and SENNA, which earned $3.3 million and $1.6 million, respectively, at theaters, according to Box Office Mojo, not counting digital or other revenue. In 2013, only six theatrical documentaries surpassed more than $1 million at the theatrical box office. One was GIRL RISING, which operated outside traditional distribution and partnered with Gathr. Another rising trend is filmmakers touring with their films. The most prominent example I know is Gary Hustwit as I wrote about in a case study of his film OBJECTIFIED. Below Andrew Cohn describes his recent experience with the film MEDORA. One recurring theme in the advice is the need for advance preparation (see Ana Vicente under the section International Sales; and the makers of INDIE GAME: THE MOVIE under Hybrid Distribution). As I compiled these comments, I was corresponding with several filmmakers headed to the 2014 Sundance Film Festival and still completing their edits and sound mixes only two weeks before opening night. If filmmakers want to take full advantage of the strategies below, they need to build in more time to plan. Once your festival premiere happens, the clock starts ticking on the marketplace asset of being new. Many comments herein reference Sundance. However, the advice can certainly be applied to TIFF or other festivals. Indeed, the biggest beneficiaries of this input may be filmmakers who are still in development or production. So read this carefully, print it out and share with your investors, discuss it with your sales agent, highlight anything you don’t understand and turn to your peers for fresh perspectives. For more, see the latest edition of Peter Broderick’s newsletter. YOU GOT INTO A FESTIVAL, NOW WHAT? MORGAN NEVILLE (DIRECTOR, 20 FEET FROM STARDOM): The first question I’d ask of yourself is what is your goal in distribution? Is it to make money? Is it to get accolades? Is it to get the film the widest possible audience? These things occasionally coincide, but I wouldn’t expect it. I’d also think about who your audience is. Is it easily identifiable (and reachable)? What are you looking for a distributor to bring to the table? I would find another recent film that has done what you hope your film can do and look at how it was distributed. Who handled it? When was it released? Was it day and date with VOD? How many markets? Where did it air on TV? This might give you a template to follow. ALEXANDRA JOHNES (EXECUTIVE PRODUCER, THE SQUARE): You are tired, I know, but you need reinforcement troops to manage festival release and grassroots & educational up until deals close that cover those areas. So many opportunities are lost while filmmakers wait for the bigger deals etc. Those are important but continuing your film’s footprint while you pursue those is key. Operate as if you assume a self-release and if you are relieved of that burden on terms you like, great. If you operate that way, you will be negotiating from a position of power and ultimately get better deal terms too, not to mention having a full fledged back-up plan in place. ALEX GIBNEY (DIRECTOR, WE STEAL SECRETS: THE STORY OF WIKILEAKS): Ask every dumb question you can think of. The dumb questions are always the best ones because they tend to provoke the clearest answers. Don’t ever pretend to know more than you do. That is the best way to get conned. DAN COGAN (CO-FOUNDER, IMPACT PARTNERS): Unless it is clear that the film is going to be a major theatrical success, all rights deals get increasingly less interesting to me every year. With the advent of social media, the availability of support for your own efforts via crowd-funding campaigns, the maturation of Transactional VOD, the emergence of digital self-distribution platforms like VHX and Reelhouse and the continued health of the U.S. and International TV markets, filmmakers who know their audiences and can speak directly to them have the potential to control their own distribution AND make more revenue while doing it. This is very liberating. At the same time, make sure you’re ready if you’re going to take this commitment on–it’s a at least 6 months worth of full-time work, and likely more than a year of commitment. ROSS KAUFFMAN (DIRECTOR, BORN INTO BROTHELS): Don’t be afraid to call any filmmaker out of the blue for advice. As filmmakers, we all know how hard distribution is. It’s a constantly changing landscape, and any filmmaker worth his or her salt will take a few minutes and lend a hand to help another filmmaker make a good deal and get their film seen and sold. There are conversations that I’ve had with other filmmakers that have literally saved me tens of thousands of dollars that I never would have come close to seeing otherwise. THE PUBLICIST DAN COGAN (CO-FOUNDER, IMPACT PARTNERS): Make sure your publicist and your sales agent work well together. In all likelihood, your publicist will have more of an impact on the sale of the film than the sales agent will, but they also have to work together well. They must function as a team – not as independent actors. AMY GREY (PUBLICIST, DISH COMMUNICATIONS): YES do hire a publicist and ask them how many other films they will be representing and who at their company will actually be working on their film? LUCY WALKER (DIRECTOR, THE CRASH REEL): In last year’s STF Sundance advice piece I dissed publicists rather but wanted to add an important coda that if you get a doc specific publicist they can be invaluable allies on all fronts. I have has supremely positive and productive collaborations with Nancy Willen and David Magdael who are doc specific and classy, awesome, pleasure to work with and have helped not just with publicity. ADAM BENZINE (JOURNALIST, REAL SCREEN): Beyond hiring a publicist for your doc, find the names of journalists at publications you want to be featured in, and ring up the journalists; speak to them on the phone. Your email is like confetti at a wedding, but phone calls stand out, and they are harder to ignore. PETER BRODERICK (DISTRIBUTION STRATEGIST): Make sure that your publicity team focuses on social media as well as film critics and other entertainment press. ADAM SEGAL (PUBLICIST, THE 2050 GROUP): Over and over these past two years we have seen the power of using a successful festival premiere and festival circuit run, and later even a very limited theatrical release, to help feed into and perhaps even boost prospects for a more lucrative iTunes, VOD, DVD and private screening circuit run (including universities and organizations). Publicity can create these circumstances. Films with no broadcast deals can still earn them, and at greater revenue levels, as a result of the success of a limited theatrical release and a lengthy festival run. The key is to think two, three or even four steps ahead and not assume that one has to be locked down first, or cannot benefit from another. There are multiple paths to success. THE SALES AGENT MARSHALL CURRY (DIRECTOR, IF A TREE FALLS): If you are hoping to sell your film, get a good sales agent on board well before the premiere. They will make sure the right people see it, and they will negotiate deals better than most filmmakers can do themselves. But they often have an incentive to make simple all-rights deals which maximize their fees, so if you are interested in carving up rights or pursuing self-distribution, talk that over with them beforehand and make sure it’s a good fit. ANONYMOUS FILMMAKER #1: Realize that most sales agents (not all) are basically middlemen. And as middlemen, they are not only working for you, but in essence working for the people you are selling to. The fact is that unless you are Alex Gibney and make four films a year, you only create one widget every few years to sell, which gives you very little leverage. The broadcasters and distributors that your sales agent is selling to have a much stronger relationship with your sales agent than you do. So when your sales agent says, “We should take this deal with this distributor because this is what is normally done and is the best deal you are going to get”, make sure you have done your homework and know what you are talking about when you reply, “I don’t care what’s normally done…what’s normally done is that filmmakers get screwed…so let’s try and get a better deal.” CHRIS HORTON (SUNDANCE ARTIST SERVICES): Domestic Sales agency deals should be limited to 6 months. In this day, if you can’t sell a film within that time, filmmakers should have full ability to do what they like without involving (or having a revenue stream towards) their sales agent. ALEXANDRA JOHNES (EXECUTIVE PRODUCER, THE SQUARE): Don’t confuse legal with business – lawyers put into legalese the terms of your deal – they are not necessarily the best ones to help you with your deal points – they can be helpful but you need business advisors – and it’s good to have a seasoned producer or EP look over your deal in addition to your sales agent – your sales agent wants to close the deal as quickly as possible – they earn a % and also have their own agendas, so they won’t necessarily push as hard as you might like. At the same time, respect your sales agent and the producers & EPs negotiating on your behalf. They have a wealth of experience you don’t; ask lots of questions but do respectfully; it gets really tiring when first-time filmmakers assume everyone is trying to screw them. If you are going to ask for advice from seasoned professionals, be transparent with your info. You won’t get good advice if you don’t relay the full picture, so if you don’t trust the person with the full picture, don’t ask. MARC SIMON (ENTERTAINMENT ATTORNEY; DIRECTOR, UNRAVELED): Filmmakers should have a clear understanding of both their sales team and sales strategy well in advance of their trip to Sundance. If filmmakers are interested in separating rights and self-releasing theatrically, then regardless of the quality of the film, a sales agent may not even be necessary for the domestic sale of the film (e.g. Shane Carruth’s UPSTREAM COLOR). For filmmakers interested in pursuing all rights deals and/or selling the film to the highest bidder, selecting a sales agent is far more nuanced than choosing the one who is most eager to represent the film. Filmmakers should specifically ascertain the sales agent’s strategy for selling the film (e.g. it might favor a direct sale to HBO prior to the festival’s premiere, which could compromise other platforms), speak to numerous other filmmakers about their experience with the sales agent, and negotiate the sales agency agreement itself, which is often overlooked. Filmmakers should also seek to work with their domestic sales agent to select and hone their international sales strategy. Filmmakers often do not run the numbers–taking into account sales agent fees and costs, legal fees, distribution delivery costs etc.– to clearly understand what amount of money the production must receive from its sales deals in order to pay back its financiers and to earn a profit. Filmmakers should be able to work in concert with their attorneys to navigate the foregoing issues and deals. ALLISON BERG & FRANK KERAUDREN (DIRECTORS, THE DOG): Be a bit annoying. Even if you have the best team assembled for distribution, your film is not their only project and things can fall through the cracks. It’s up to you to advocate best for your film and speak up if you have concerns. Again, it can be very helpful to find a filmmaker who can share their experience because you will have many questions along the way. Your sales agent can answer some, your lawyer and your accountant some others, but having another filmmaker to consult with is really helpful. INTERNATIONAL SALES ANNIE RONEY (SALES AGENT, ro*co films): Never have one person or one agency represent your rights worldwide, unless you are only seeking a digital release. North America and the rest of the world are two different beasts. Find separate representation for each. Listen to your gut. If you feel like you are being sold something you probably are. Optimally, your relationship with your agent, distributor, broadcaster, etc. should be collaborative. PETER BRODERICK (DISTRIBUTION STRATEGIST): Select an international sales agent that specializes in TV sales and always attends MIP and MIPCOM. Only give them your international digital rights if they have a track record selling these rights successfully. DAN COGAN (CO-FOUNDER, IMPACT PARTNERS): On international sales: cut a 55-minute version of the film offline RIGHT AWAY. Give it to your international sales agent. Don’t spend the money to master it yet, but just cut it and let it sit. You will generate many more sales if you have both a feature-length and an hour-long version available. This is not the version of your film that will live forever–it’s not what will last on DVD or in digital. The legacy of your film will be the theatrical. So just hold your nose and do it. And then, if buyers want to buy it, master this version the second that revenues from the sale (after your sales agent takes their cut) exceed the cost of the mastering. You’ll be thankful you did this. ANA VICENTE (SALES AGENT, DOGWOOF GLOBAL): Foreign distribution is complicated, there is a market for theatrical and TV docs and you need to collaborate with specialist distributors to maximize your film’s impact and audiences. Start early. Have early discussions on your foreign distribution planning, especially if your film has theatrical potential outside North America. The most common oversight we find are producers approaching a foreign sales agent well after Sundance, maybe because their focus was in nailing the in/outs of their US deal. Even if this is only in March or April, bear in mind many foreign buyers don’t travel to Park City but do attend EFM in Berlin or Film Art in Hong Kong just a few weeks later. Both are great opportunities to market and sell your doc in Europe and Asia. Unfortunately, deadline for market screenings, advertising space or Festival submissions are all before Sundance. Your sales agent needs to book and allocate those spaces to market your film efficiently. Initiating talks on foreign distribution post-Sundance is a lost opportunity if your doc doesn’t win or does not become the most talked about film. It also means your film will have to compete with other newer docs from other Fests: SXSW, Tribeca, Hot Docs and Cannes in the next “foreign” theatrical market opportunity. Cannes is a tough one to market docs! Trust and delegate. Another common mistake is when a producer closes a rather small foreign TV deal directly on offers received during Sundance, before having a sales agent on board. What you may not anticipate at the time of closing such deal is the license term may be detrimental to potential deals on other platforms or even sales from neighboring European countries. Allow your sales agent to negotiate all foreign deals on your behalf. It is not just the license fee they can maximize for you, but the overall sales and distribution potential. A good sales agent knows how to orchestrate the sophisticated windowing and holdbacks among different territories and platforms in Europe and to coordinate the different release dates of countries by language as well as territory. For docs with cross platform potential (Theatrical, DVD, Digital, TV) it’s often more complicated than it appears, as some European countries are still heavily regulated and some territories have laws which force distributors to respect windows after a theatrical release and before they can exploit the DVD- digital or Television rights. Do your Research. Make sure your sales agent is a good fit for your film. Do they do theatrical sales or mainly TV distribution? What are the markets they attend? Does your sales agent have a digital strategy for the countries where digital rights weren’t sold? Does your agent work directly with main VOD platforms, iTunes or Netflix or through an aggregator? Will they handle the Festival strategy on your behalf? Will they produce marketing assets such as film website, poster or manage the film’s social media? What other documentaries do they have in their line up, and where were they sold to. If you are lucky to have two or more agents interested in handling your film and have doubts, get feedback from filmmakers/producers of docs distributed by the agents you are considering to ask a simple question: would you work with them again? why? JUSTIN SZLASA (PRODUCER, SIDE BY SIDE): International Festivals: skip the screening fees until you get the subtitles you need. Why? You might get a festival fee of 3-500 euros (which you will likely split 50/50 with your sales agent). That’s nice but subtitles are worth far more to the production. First, at the festival the home audience (and critics) will have an easier time understanding your film when it screens–which is better for all kinds of obvious reasons. Second, you need subtitles to launch digitally on many international platforms (like iTunes Holland and Germany, for example). The cost to make these subtitles (as much as 4k) will be passed on to you–either directly by your sales agent or indirectly via your local distributor. So for international festivals waive the screening fee, insist the festival subtitles your film when it screens, and ask them to hand you the file including time code. NEGOTIATING A DEAL LIZ GARBUS (DIRECTOR, LOVE, MARILYN): If you’re lucky, your career in the (documentary) film business will be a long one. So in some ways, the most important thing for you right now is to forge relationships and find partners who you may work with for years and years ahead. So, if you feel a real connection with a potential buyer/partner, they really love your film, your talents, and share your vision for what the film should do in the world–that may be the better partner than the one offering a bigger MG. Likewise, if you dreamed of a theatrical release but the people who love your film the most, and strike you as the most faithful partners, are TV/Cable/Streaming buyers, consider them seriously. Theatrical documentaries that work are far and few between and what you want is your film to be SEEN and PROMOTED and LOVED by those releasing it. And guess what, you might go ahead and get started on your next film with them too. BRENDA COUGHLIN (PRODUCER, DIRTY WARS): Early morning bidding wars and distributors texting your sales agent 7 minutes into your premiere screening are for the 1 percent of documentary films, even for ones at prestigious festivals. So, expect that not to happen. At Sundance, the high mountain air–combined with jitters, lack of sleep, possibly a hangover–can have a deleterious effect. At 4am, I would’ve signed my life rights away to Michael Bay. Counter this by arriving prepared, with 1) a well-thought out distribution strategy, 2) a solid plan to carry out that strategy, and 3) a team to help you. “I want as many people to see my film as possible” and “my film belongs in theaters” doesn’t mean much – there’s no strategy there. “The distributor will take care of that” is not a plan. “How hard can it be for me to do it myself” is not assembling a team. Expect to forget your brilliant strategy and plan, so write it down. Have a cheat sheet with key deal terms and keep it with you at all times. Look at it at 4am. Expect that any unresolved issues within your team – disunity on goals, for example – will emerge, at inopportune moments. Stave it off as best you can by trying to get everyone who needs to be on board with the plan organized and unified, in advance. MORGAN NEVILLE (DIRECTOR, 20 FEET FROM STARDOM): Have a detailed plan going in so that if you find yourself negotiating in a condo in the middle of the night, that the most important things are agreed upon up front. Distributors often try to dominate the details of contract negotiations after the fact (since once an announcement is made, the leverage goes to them). Think about everything from ancillary rights, minimum number of screens, marketing minimums and maximums. The more of these you can get into your initial deal memo, the better. ANONYMOUS FILMMAKER #2: Ask your potential distributor to give you a list of reps from four films (and their phone numbers) that will recommend the distributor and who have received “overages” (money that exceeds the initial advance) from the original distributor. DAN COGAN (CO-FOUNDER, IMPACT PARTNERS): Do business with the buyer that is most passionate about your film – the one that really gets it. With rare exceptions, there isn’t enough upside in the doc world for even the buyers to be motivated solely by $. They have to love the film. If you sense they don’t get it, or don’t really love it, don’t sell it to them. Not only will you will end up being miserable if you do, but if they don’t see the film the right way, they won’t be able to sell it well either. ALLISON BERG & FRANK KERAUDREN (DIRECTORS, THE DOG): Everything will take longer than you will expect. Unless you’re in the middle of a bidding war and in a hotel room at 4am (congrats if you are!), then it takes a lot of time to hammer out all the details. Try to manage expectations. If you do think your film is a good fit for theatrical, take a look at the box office numbers for other films similar to your own to try to gauge how theatrical distributors expect your film to do. Offers are based on what they project the return to be–not how much they love your film. Work with people who get your film. Really listen to what they want to do with your film, who they think the audience is, what ideas they have for how they want to get it out into the world, how they like to work with their filmmakers, how many films do they take on. Don’t take it personally. PETER BRODERICK (DISTRIBUTION STRATEGIST): No deal is better than a bad deal. SHOLA LYNCH (DIRECTOR, FREE ANGELA AND ALL POLITICAL PRISONERS): Realize that once you sign the distribution contract, you’ve handed over your film and may not have much input from that point forward. DEAL TERMS PETER BRODERICK (DISTRIBUTION STRATEGIST): The most important rights to retain (whether you make a multiple rights deal or split up your rights) are: Direct digital – the rights to sell downloads and streams directly from your website Direct DVD – the rights to sell DVDs from your website and at screenings. This needs to be coupled with the right to buy DVDs from your DVD distributor at cost or no more than $5.00 Educational – the rights to sell educational copies to colleges and universities, high schools, libraries, nonprofits, companies, and other organizations and institutions Semi-theatrical – the rights to rent the film for single screenings (Note: if you are making a multiple rights deal, you can share these rights non-exclusively with your distributor) Focus on the ultimate revenue split rather than the advance. Assuming you are working with an honest company, it is often better to take a lower advance or no advance to get a better revenue split. The distributor will recoup its advance from revenues before paying you any more money. An advance gets you some money sooner, but in the end may cost you a substantial amount of money that you could have made with a better revenue split. Request a revenue corridor so you will receive some money (e.g. 20% of revenues) while the distributor is taking its distribution fees and recouping its expenses and advance. Otherwise you may receive no share of revenues for months or years. BRIAN NEWMAN, CO-FOUNDER, CROWD PLAY): Look at your deliverables list (from a distributor) before you make a deal, and consider which items are negotiable. There are lots of little hidden costs in there. CHRIS HORTON (SUNDANCE ARTIST SERVICES): Filmmakers and their agents should demand faster and more transparent reporting from distributors. Distributors aren’t even obligated to let licensors know when their film gets licensed to Netflix, et al. MARC SIMON (ENTERTAINMENT ATTORNEY; DIRECTOR, UNRAVELED): Except for the smaller percentage of banner films that clearly will receive 7 figure offers (or high six figure offers in the case of documentaries), filmmakers should consider and understand alternative split right scenarios. In today’s changing landscape, it doesn’t necessarily make sense to license all lucrative rights in exchange for an advance that doesn’t cover all the costs of making the film. In the last year I have seen numerous filmmakers (especially documentaries) hold onto their rights to pursue self or service releases for theatrical rights and separately license TV and/or VOD rights (including splitting VOD rights between more than one entity where Sundance Artist Services was involved). Essentially, there are two landscapes in Indie Distribution and filmmakers should enter Sundance with a clear understanding of which they are pursuing or whether they can pursue both at the same time. One final footnote: For filmmakers who do license their films to one of the big boys, it is important to understand, upfront in the deal stage, the payment schedules and reporting schedules that distributors intend to follow, in an effort to ensure that payments are made as soon as possible, instead of as late as possible. ALEXANDRA JOHNES (EXECUTIVE PRODUCER, THE SQUARE): 1) It’s not about what they are paying you (to the extent that any MGs still exist); it’s what they are committing to (spend and markets etc.) so don’t get hung up on the upfront numbers. 2) Hold onto something–some territory or market–whether it’s international or one-off theatrical (rights to Gathr etc) or educational. It’s your baby and you are going to feel better having some control over something; don’t give everything away, because as a first-timer, you won’t have the leverage to influence how the distributors handle it and it can be heartbreaking to see your film fully mishandled in all territories and all media. HEIDI EWING (DIRECTOR, DETROPIA): When you get an offer, make sure you understand the details. In how many cities are they planning to release your film? When do they think is the best time to release the film and why? How much (if any) P&A will they put up for the release? What other documentaries are they releasing along with your film? Will they pay for any type of Oscar campaign if you are shortlisted? It’s not enough to just have “a deal.” Know the business, ask questions directly and in person, advocate for yourself and your film. It’s your job. ANONYMOUS FILMMAKER #2: Ask to see a waterfall before you sign a deal. In other words, ask your potential distributor to show exactly what happens to the revenue from your film. Use a simple number, like $100,000. Have the distributor break it down for you market by market. Set limits on P&A spending. In theatrical deals, P&A can be a secret poison, slowing killing any chance of profitability. Here’s why: P&A can benefit grosses and help to promote films. BUT, because of the nature of the theatrical deal, it can be in the interest of the distributor to break even, rather than to return “overages” to the filmmaker. Ask the necessary questions until you understand why P&A giveth and P&A taketh away. BRENDA COUGHLIN (PRODUCER, DIRTY WARS): Define what “theatrical” means for your film and negotiate these rights accordingly. Do you want a lot of markets? Or a targeted, limited run that basically serves as marketing for a digital release? If you’re relying on group sales (who isn’t?), what do these groups need to make it work for them? What about focusing on festivals as the backbone of theatrical? In short, juggling rights needs to be an outcome of your particular distribution strategy, not the driver of your strategy. So if you haven’t had a chance to think through it already, ask and answer questions for yourself. Think hard. Ask around from other filmmakers who have had films released in the last two years. What do you want for your film and what do you need – for the film, for your life, for your next film? What are your priorities and what are you willing to give up? Whose going to do the work and do they know that? Anyone got newborns or credit card debt? Factor that in. What happens if your distributor goes bankrupt or the president, who sold you on signing with them, leaves? Does your audience watch films on DVD or on Xbox? Do people in Australia actually need to see your film? Finally, it’s not just about rights and money. That’s what people talk about at festivals. But six months or a year later, most filmmakers I know are talking about windowing, timing of the initial release, key art, group sales, paying for deliverables, support for going on tour with the film or for awards runs. Those are the deal points worth taking a stand over. ROSS KAUFFMAN (DIRECTOR, BORN INTO BROTHELS): Bankruptcy clauses in your contracts mean nothing. Period. Even if your distribution agreement clearly and explicitly states in the contract, “In the case of bankruptcy, all rights revert to Producer”, bankruptcy courts will not consider this clause. The words, basically, mean nothing. One nearly incomprehensible example involves hundreds of filmmakers (myself included) who currently have their films included as assets in the bankruptcy cases connected to the dissolution of THINKFilm despite the fact that just about every one of those filmmakers has some kind of ‘reversion upon bankruptcy’ clause in their contract. MARSHALL CURRY (DIRECTOR, IF A TREE FALLS): There are a few cases where an “all rights” deal might make sense: 1) If your film has very significant mainstream crossover appeal (like say, 20 FEET FROM STARDOM). It’s hard to self-distribute on that scale, and the potential upside of having a distributor’s machinery behind your film might be worth the cost of losing some control and ancillary rights. An exception to this might be a film where you control a powerful marketing tool, like in EXIT THROUGH THE GIFT SHOP. In that case, even though the release was wide, it made sense for Banksy to forgo an “all rights” deal because he already had so much marketing muscle without a traditional distributor. or 2) If someone offers you a lot of money up front. A famous musician told me once that he thought when he was first starting out that he should not push for big advances. He thought the record label would appreciate the team spirit of the gesture and they would have more to spend on releasing his record. But the truth is, he said, if you get a really big advance, it means that your label has more skin in the game and is going to work harder to make sure they recoup that advance. It’s a good lesson for film too, I think. or 3) If you really don’t want to deal with the headache of self-distribution. It’s very time consuming and requires some expertise and some money, so don’t underestimate those. There are a lot of success stories, but there are also a lot of failures that you don’t hear about as often. Do your homework about the distributor. My film RACING DREAMS was sold to a company that was new to the scene, flashed money, and made big promises. But it turned out they were not particularly interested in film distribution and were primarily playing games with their stock price on the penny stock exchange where they traded. They didn’t advertise in most markets; theater owners told me they didn’t even receive trailers or posters; they never paid the MG; and it took years of legal wrangling before we got the rights to the film back. In contrast, Oscilloscope, which released IF A TREE FALLS, was very straightforward about their expectations for the film and their release plan, and they did what they said they would do. They don’t have the muscle of some of the larger distributors, but they are filmmaker friendly and allowed me to be a part of the DVD design, trailer edit, release, etc. LUCY WALKER (DIRECTOR, THE CRASH REEL): For THE CRASH REEL we loved the deal offered by one distributor, Phase4 Films. However one sticking point was that I’m a design snob and I didn’t like their posters or DVD covers or artwork. So we insisted on veto rights on all art–I actually made it a deal breaking point–and I am so, so glad we pushed for it. The distributor really worked together with the film team on our art. The leverage of our added clause was imperative to getting our input and everyone wound up happy. It is really important to me how the film appears and I’m such a lover of posters and thumbnails and art and trailers that it breaks my heart if a film I’ve directed has ugly or misleading or exploitative art or inferior trailer. The cover of my first doc DEVIL’S PLAYGROUND which looks like a bad horror flick makes me cry every time I see it. ANTHONY ARNOVE (PRODUCER, DIRTY WARS): One other small bit of advice, regardless of your distribution strategy: find a great post-production manager and set aside money for additional post-production costs. The film will likely have to be reformatted at least a few more times and you will have new delivery requirements after Sundance that you probably have not anticipated. EDUCATIONAL RIGHTS DAN COGAN (CO-FOUNDER, IMPACT PARTNERS): If you think there is a very specific audience for your film that will not go to the theaters but will buy a DVD or pay to download the film, make sure you reserve educational/non-theatrical rights for yourself. All the buyers of every stripe say they exploit these rights, but very few of them actually do. If a buyer won’t carve these out for you, be damned sure that they have a plan for generating revenue and that you aren’t left just getting scraps from it. BRENDA COUGHLIN (PRODUCER, DIRTY WARS): Longevity is crucial, especially for documentary filmmakers – a change in the life of a subject years later or the issue coming back in the news can make a film relevant and timely again long after the initial release. Think ahead: In five years, how are people going to see your film? Distributors tend to move on quickly – in some cases, after opening weekend – so pay attention to timing and not just of the initial release. Maybe there is an intrepid filmmaker out there who can work time-delimited rights around “in perpetuity.” In the US, there’s a market around “educational rights” and this is a promising area–but only if it is right for your film. If you’ve done the research and believe there is a university or school market for your film, by all means go for it and retain those rights. It is just not a universal fit for all documentaries. DVDs – yeah, I said it. Despite received wisdom, some audiences in the US and in this place called the rest of the planet still watch films on DVD. Even if you sell DVD rights, you can retain the right to distribute the DVD yourself directly at, say, community screenings or other events, and even get a low wholesale rate from the distributor. Civic Bakery has done it before with a smart distributor who saw this as a boon, not competition. I raise this not to make big claims about DVDs but just to emphasize the need to match rights to platforms with audiences for your film. DIGITAL RIGHTS DAWN PORTER (DIRECTOR, GIDEON’S ARMY): These days having an early digital release can be really valuable. Try and keep the holdback window short. The broadcasters put a lot of effort toward the premieres. Ask if they really need a long holdback if they want more than 3 months. ANONYMOUS SALES AGENT: Filmmakers should carve out the right for “direct to consumer” rights via their social footprint or website, and by that I mean digitally. Topspin, VHX, whatever the platform. Filmmakers used to sell DVDs via their website and companies would allow this with certain restrictions in pricing. Now filmmakers can reach audiences digitally and there are many examples of success. LUCY WALKER (DIRECTOR, THE CRASH REEL): I’d be happy to add my name to the point from the anonymous sales agent re reserving direct to consumer rights. On THE CRASH REEL we knew we had diverse demographics and audiences and fan bases–extreme sports fans, traumatic brain injury survivors and their families, moms and families, families with Down syndrome, etc and we wanted to do special things with our #loveyourbrain outreach campaign and also with selling directly with different packages suitable for those different audiences with a really great functional website that will also operate as a sales portal to view or buy the film. We reserved the right to sell direct in all territories and made great sales to theatrical distributors in all our goal territories and it’s been a real win-win. We are working with Topspin who we love to build our audience and create different fan packages (including our DVD or film streaming) to sell direct from our website. That way we hope to beat piracy / the bit torrents by giving audiences a fan experience that includes extras like deleted scenes or stickers or brain-injury-specific videos or unique snowboarding memorabilia, etc. Our inspiration for this was Stacy Peralta’s BONES BRIGADE so we worked with Andrew Herwitz as our sales agent (who pioneered the BONES BRIGADE model) and we’ve been really happy. Another bonus of controlling your own direct-to-consumer sales is that you get to build your own email database. This is so important as we filmmakers move to thinking of ourselves as “brands” and having an email list of fans will be something that we all need to build for our careers. Imagine if John Waters had a mailing list, or owned his films or the right to sell them direct to fans? Instead he has no rights and no fan database and he’s unable to easily leverage his tremendous fan base to help him produce more fabulous work. JAMES SWIRSKY & LISANNE PAJOT (DIRECTORS, INDIE GAME: THE MOVIE): Regardless of your planned distribution strategy (Self/All-rights/Hybrid), we’d strongly recommend negotiating for the right to sell off of your own website (both digital & physical). Aside from the obvious benefit of better margins & more control, offering your film on your film’s website allows for less obvious, but we’d argue, more important advantages: Own The Long Tail: It allows you to own the long tail of your film and capitalize off of organic search. Your film will have a long life well beyond your initial marketing & promotional push. Once the marketing spend is done & sales chart momentum begins to wane, the vast majority of people will discover your film in much more organic, word-of-mouth ways – many of which end up with a Google search for your film. And, if you’ve done things right, you should be at the top of that results page. You want to be able to sell your film one click after that point. Roughly a third of all digital sales for Indie Game: The Movie happened on indiegamethemovie.com. Create an Audience for this Film & the Next: In the context of a larger self-distribution strategy, but also valid within a hybrid approach, selling from your own site creates a very real connection with your audience members. Not only can you personalize & customize the experience for those people, but you will also own your own sales & customer data. I know, the thought of collecting emails is sometimes icky, but in reality, these are people who like your work enough to buy it. Chances are, they’ll likely be interested in your next project. If you are thinking long term (and you should be), building an audience–that you can actually get in touch with–will make the next project, and everyone after that, more successful. If you believe in the idea of “1,000 true fans,” owning your data is the key to making this happen. Invaluable Flexibility: Offering your film on your website and retaining digital rights allows for maximum flexibility in terms of promotions and sales opportunity–especially within the online space. Opportunities such as bundling, bonus content offerings, coupons, sales, organizational partnerships–all require a certain nimble-ness that you won’t find with more traditional digital outlets. Especially within the doc space, where core audience groups are readily identifiable, easier to reach & partner with, the ability to bring the film to them rather than point them to Amazon, iTunes, etc. is exceptionally powerful. PETER BRODERICK (DISTRIBUTION STRATEGIST): It is better to sell your retail digital rights and your retail DVD rights to the same company. If you sell your digital rights separately, it will be much harder to find a company willing to only distribute your film on DVD. KEVIN IWASHINA (SALES AGENT, PREFERRED CONTENT): Filmmakers need to understand the variety of digital rights which are out there – the majority fall within three categories: TVOD, SVOD and FVOD. TVOD or Transaction Video on Demand are those rights which are monetized by a transaction. That can be in the form of a purchase or one time rental. SVOD or Subscription Video on Demand are those rights which are streamed through an all you can eat subscription type service (e.g. Netflix, Hulu Plus, etc) FVOD or Free Video on Demand are those rights which are streamed for free and are monetized through advertising. Many TV distributors are now asking for “TV Everywhere” rights or associated streaming rights. Broadcasters are wanting to stream these rights thru apps, their own branded website, etc. The key is to understand the limitations on their definitions and ensure that there are no holdbacks or other encroachments which would limit filmmakers to monetize their content on other digital platforms. Additionally, filmmakers should ensure that the fees charged are “inclusive of sub distributor fees”. In many instances, a distributor will acquire a film, but use a subdistributor to monetize the film in an area where they may not be direct. Some examples are WB Digital handling digital for distributors who may not be direct with all platforms, a hard good distributor like Anderson handling DVD and taking it into WalMart, etc. HYBRID DISTRIBUTION BRENDA COUGHLIN (PRODUCER, DIRTY WARS): Let’s send this term “self-distribution” into the dustbin of history. Most of the documentary filmmakers I know are intimately involved in distributing their work, no matter what kind of deal they make or don’t. In that sense, all distribution is self-distribution. Similarly, no distribution is done only by you. Any way you slice it, you’ll have partners and be working with a team of people and organizations–whether aggregators or festivals, big exhibitors or small art house cinemas, digital marketers or crowd-funding supporters. A film doesn’t get seen without the help and interests of a lot of people. Either way: it’s work. A lot of work. So much more work than you think. To repeat: You’ll work your butt off. So the question is not whether you want to do the work, it is what kind of work do you want to be doing for the next 18 months (at a minimum)? Identify the tasks and pair them with the best possible people or institutions you can find, cajole, pay or persuade to do them. PETER BRODERICK (DISTRIBUTION CONSULTANT): “Hybrid distribution” is the alternative to giving one company total distribution control of your film for many years. The hybrid approach enables you to retain overall distribution control of your film, choose great distribution partners, and retain the rights to sell directly to North America and the rest of the world. LUCY WALKER (DIRECTOR, THE CRASH REEL): Consider a distribution consultant like Long Shot Factory which can mastermind a self-release. We didn’t go this route, but there are great new services out there to help filmmakers navigate. Ditto Picture Motion masterminds social media campaigns. HEIDI EWING (DIRECTOR, DETROPIA): Do I have the stomach to self release this thing? If you hate the deals coming your way but believe your film will do well on a big screen, consider the DIY model. It worked well for DETROPIA. This choice is scary and adds yet another burden, more time and endless energy to the process–time you could be spending starting a new project. On the upside, you can keep all of your rights and sell them yourself, standing to make money on the theatrical, your Netflix, DVD, VOD etc. It’s both empowering and a pain in the ass to be in charge of your film’s destiny. It’s many things, but not for the faint of heart. JAMES SWIRSKY & LISANNE PAJOT (DIRECTORS, INDIE GAME: THE MOVIE): Sundance is not the place for you to start considering self-distribution. If you think self-distribution may be a good fit for you, your film and your audience (and it not always is), then you should have been thinking about it long before your first distribution meeting. Direct distribution is only as good as the audience you’ve cultivated around the film–work which, ideally, has started much earlier in the process. If self-distribution is in play for your project, you should head into the festival circuit with your strategy relatively thought through. Meaning you should have put real thought into costs, revenues, timelines, effort & execution. You should then use this as a relative yardstick to compare & contrast offers. It may turn out that the deals offered make more sense than self-distribution. Overall, if you choose self-distribution, you want it to be a choice–and an educated one at that. When self-distribution is simply viewed as a last-resort, chances are things won’t work out the way you want them to. ANDREW COHN (DIRECTOR, MEDORA): I think the power to find alternative, filmmaker driven revenue streams though touring, speaking engagements, and “live events” is important. We just toured our film MEDORA to 30 cities in 50 days. The turnout was amazing. Audiences want more “experience” for their buck nowadays, and giving them a “night” with Q&A’s, special events/venues, after-parties, food, meet-the-directors–any way to distinguish yourself and make it an “event” more than just a screening. There are lots of awesome alternative venues and press waiting to write about your event. We may never be able to compete head-to-head with larger movies, but giving audiences a bigger, different experience is one way drive your audience out to see your film in large numbers without a huge PR & Marketing budget. This also gives local press a reason to write about your film. Having a newspaper or alt-weekly do a write up on your event will get lots of eyeballs onto your website, etc. It’s not even about the 75 people that come to the event. It’s about the 75,000 people in that city that read about it, and your film. After all was said and done, we did make money. Most theaters were willing to do a 50/50 split (some of the larger theaters asked that we rented). Besides decent box office numbers (anywhere btwn 30-700 people, I’d say average was about 50-60 ppl), most of the profits came from DVD and t-shirt sales after the events. We also had some nominal “speaking fees” at some art centers and colleges, plus sales from the website during that period. We were driving a lot of eyes to the website through local press though. We do have a bit of a built-in audience and press/booking machine with FOUND Magazine. I’d say 20-30% of folks were fans of davy/FOUND. but most weren’t. We do have lots of local press contacts and some relationships with existing venues–but we hired a girl fresh out of college for 10 bucks an hour to reach out to local press and she did fine on her own. It was a really amazing experience; being able to see audiences connect with the film night after night (a rare thing). We also got to bring one of our subjects with us, which I would HIGHLY recommend. HEIDI EWING (DIRECTOR, DETROPIA): Where are my peeps? Once you make the decision to self release you must assemble a crack team that includes an experienced booker, an outreach coordinator, an excellent and dogged publicist, an army of interns who love and understand social media and of course yourself, the fearless leader of distribution-dom. Go forth and find thy audience, they are out there in the world just waiting to see a film just like yours.
4383	dbpedia	2	81	https://cinando.com/en/Company/thinkfilm_impact_production_137710/Detail	en	THINK-FILM IMPACT PRODUCTION			[ "https://cinando.com/content/images/logo-cinando-2016.png", "https://cinando.com/content/images/logo-cinando-min.png", "https://dauvsy92u4wdt.cloudfront.net/fit-in/286x286/prod/company/1251252.png?width=286&height=286?width=286&height=286&404=noimg_company.png", "https://cinando.com/Content/images/pixel_gris.gif?width=1200&height=400&404=pixel_gris.gif", "https://cinando.com/Content/images/NonLogge/FicheSocieteNonLoggeInfos1.png", "https://cinando.com/Content/images/NonLogge/FicheSocieteNonLoggeInfos2.png", "https://cinando.com/Content/images/NonLogge/FicheSocieteNonLoggeGraphs.png", "https://cinando.com/Content/images/facebook-white.png", "https://cinando.com/Content/images/twitter-white.png", "https://cinando.com/Content/images/linked-white.png", "https://cinando.com/Content/images/eu-flag-creative-media.png", "https://cinando.com/Content/images/first-auth-1.png", "https://cinando.com/Content/images/first-auth-2-1.png", "https://cinando.com/Content/images/first-auth-2-2.png", "https://cinando.com/Content/images/first-auth-2-3.png", "https://cinando.com/Content/images/first-auth-3.png" ]	[]	[]	[ "" ]	null	[]	null			/Content/images/favicon.ico		null	Discover the new face of Cinando ! We worked hard to enhance your user experience and bring you a modernized version of the premier network for film professionals. Switch in the 'Search in' sidebar in the results pages
4383	dbpedia	2	15	https://www.theglobeandmail.com/report-on-business/us-filmmaker-tapped-as-suitor-to-alliance-unit/article18176273/	en	U.S. filmmaker tapped as suitor to Alliance unit	https://www.theglobeandm…00x630.png?d=597	https://www.theglobeandm…00x630.png?d=597	[ "https://sb.scorecardresearch.com/p?c1=2&c2=16433046&cv=3.9.1&cj=1" ]	[]	[]	[ "" ]	null	[ "SHIRLEY WON" ]	2006-11-09T05:00:00+00:00	Bergstein said eyeing Motion Picture	en	https://www.theglobeandm…h-icon.png?d=597	The Globe and Mail	https://www.theglobeandmail.com/report-on-business/us-filmmaker-tapped-as-suitor-to-alliance-unit/article18176273/	The U.S.-based film financier who recently bought Canadian independent movie distributor ThinkFilm is among the potential buyers kicking the tires at Motion Picture Distribution LP, sources say. ThinkFilm, known for distributing edgy and irreverent movies, was bought by producer David Bergstein, who is building a film conglomerate under the name of Capco Group with partner and construction mogul Ron Tutor. The holding company's two divisions now include British film financing company Capitol Films, bought in January, and Toronto-based ThinkFilm, the deal for which was announced on Oct. 24. ThinkFilm's chief executive officer, Jeff Sackman, declined yesterday to comment on Mr. Bergstein's interest in purchasing Canada's largest movie distributor. But Mr. Bergstein recently told Daily Variety, the entertainment industry paper, that the plan is to "build a worldwide distribution company." Mr. Bergstein's Mobius Pictures produced Bordertown, a thriller starring Jennifer Lopez that is set to be released next year. He also briefly owned Le Dome, a legendary Hollywood eatery. Motion Picture, which has subsidiaries in Britain and Spain, is 51-per-cent owned by Alliance Atlantis Communications Inc. The Toronto-based broadcaster announced last month that it would explore the sale of part or all of its stake in the distributor. Movie Distribution Income Fund, the income trust that owns the balance of the distributor, said yesterday that its special committee has given the green light to join Alliance Atlantis in a potential sale. Motion Picture's chief financial officer, Lloyd Wiggins, told analysts in a conference call that "a number of third parties have already expressed interest" in the distributor and the sales process should begin imminently. "It's safe to say that there has to be a Canadian partner in any transaction," he added. "How it is structured is a little premature [to say]" Heritage Canada rules require any foreign buyer of a cultural business to have a Canadian partner that retains control of the firm. London-based hedge fund Marwyn Investment Management LLP has stated it is still "very interested" in purchasing Motion Picture, but would not say whether its previous conditional bid of $10 to $10.50 a unit is still on the table. Sources say New York-based Goldman Sachs Group Inc. is a potential buyer. Units of Movie Distribution yesterday rose 24 cents to close at $8.06 on the Toronto Stock Exchange. Raymond James Ltd. analyst Andy Nasr expects a deal will be done and is the most optimistic of analysts, with a target of $10 a unit for the takeover. Others see a transaction done closer to the $9 range. While ThinkFilm could be a Canadian partner for Mr. Bergstein's pitch, Mr. Nasr said that foreigners won't have a problem because there are "many different ways to comply with Heritage Canada's stipulations, including having Alliance Atlantis retain some ownership." The proposed sale is the latest twist in a saga that began last July when Motion Picture's founder and chairman, Victor Loewy, left the distributor after two other senior executives -- including former CEO Patrice Théroux -- were fired. Mr. Loewy's departure triggered a plunge in the income trust's unit price to as low as $5.28 on concern that movie studio New Line Cinema Corp. might cancel its contract because of a "key man" clause. Alliance Atlantis launched legal action against the executives and alleged they were plotting to sell the distributor without approval of its board. But Mr. Loewy returned to work for the distributor as a consultant on the lucrative New Line deal and all lawsuits were dropped. Some analysts saw Mr. Loewy's return to the fold as a precursor to dressing up the firm for a sale. Movie Distribution SOURCE: COMPANY REPORTS
4383	dbpedia	1	17	https://www.facebook.com/photo.php%3Ffbid%3D720677373511125%26set%3Da.572195241692673%26type%3D3	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
4383	dbpedia	2	42	https://www.marchedufilm.com/schedule/	en	Marché du Film - Festival de Cannes	https://www.marchedufilm…color-f0f2f7.png	https://www.marchedufilm…color-f0f2f7.png	[]	[]	[]	[ "" ]	null	[]	2019-10-03T16:42:44+00:00	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉 HOT TIP! Use the filtering option to	en	https://www.marchedufilm…e-touch-icon.png	Marché du Film	https://www.marchedufilm.com/schedule/	Choose which schedule you’d like to consult OR take a look at the FULL Marché du Film 2024 schedule right below! 👉HOT TIP! Use the filtering option to see events according to your interests. 🕑 Please note that the dates and times displayed are based on the time zone of your device.
4383	dbpedia	3	18	https://www.theglobeandmail.com/report-on-business/us-filmmaker-tapped-as-suitor-to-alliance-unit/article18176273/	en	U.S. filmmaker tapped as suitor to Alliance unit	https://www.theglobeandm…00x630.png?d=604	https://www.theglobeandm…00x630.png?d=604	[ "https://sb.scorecardresearch.com/p?c1=2&c2=16433046&cv=3.9.1&cj=1" ]	[]	[]	[ "" ]	null	[ "SHIRLEY WON" ]	2006-11-09T05:00:00+00:00	Bergstein said eyeing Motion Picture	en	https://www.theglobeandm…h-icon.png?d=604	The Globe and Mail	https://www.theglobeandmail.com/report-on-business/us-filmmaker-tapped-as-suitor-to-alliance-unit/article18176273/	The U.S.-based film financier who recently bought Canadian independent movie distributor ThinkFilm is among the potential buyers kicking the tires at Motion Picture Distribution LP, sources say. ThinkFilm, known for distributing edgy and irreverent movies, was bought by producer David Bergstein, who is building a film conglomerate under the name of Capco Group with partner and construction mogul Ron Tutor. The holding company's two divisions now include British film financing company Capitol Films, bought in January, and Toronto-based ThinkFilm, the deal for which was announced on Oct. 24. ThinkFilm's chief executive officer, Jeff Sackman, declined yesterday to comment on Mr. Bergstein's interest in purchasing Canada's largest movie distributor. But Mr. Bergstein recently told Daily Variety, the entertainment industry paper, that the plan is to "build a worldwide distribution company." Mr. Bergstein's Mobius Pictures produced Bordertown, a thriller starring Jennifer Lopez that is set to be released next year. He also briefly owned Le Dome, a legendary Hollywood eatery. Motion Picture, which has subsidiaries in Britain and Spain, is 51-per-cent owned by Alliance Atlantis Communications Inc. The Toronto-based broadcaster announced last month that it would explore the sale of part or all of its stake in the distributor. Movie Distribution Income Fund, the income trust that owns the balance of the distributor, said yesterday that its special committee has given the green light to join Alliance Atlantis in a potential sale. Motion Picture's chief financial officer, Lloyd Wiggins, told analysts in a conference call that "a number of third parties have already expressed interest" in the distributor and the sales process should begin imminently. "It's safe to say that there has to be a Canadian partner in any transaction," he added. "How it is structured is a little premature [to say]" Heritage Canada rules require any foreign buyer of a cultural business to have a Canadian partner that retains control of the firm. London-based hedge fund Marwyn Investment Management LLP has stated it is still "very interested" in purchasing Motion Picture, but would not say whether its previous conditional bid of $10 to $10.50 a unit is still on the table. Sources say New York-based Goldman Sachs Group Inc. is a potential buyer. Units of Movie Distribution yesterday rose 24 cents to close at $8.06 on the Toronto Stock Exchange. Raymond James Ltd. analyst Andy Nasr expects a deal will be done and is the most optimistic of analysts, with a target of $10 a unit for the takeover. Others see a transaction done closer to the $9 range. While ThinkFilm could be a Canadian partner for Mr. Bergstein's pitch, Mr. Nasr said that foreigners won't have a problem because there are "many different ways to comply with Heritage Canada's stipulations, including having Alliance Atlantis retain some ownership." The proposed sale is the latest twist in a saga that began last July when Motion Picture's founder and chairman, Victor Loewy, left the distributor after two other senior executives -- including former CEO Patrice Théroux -- were fired. Mr. Loewy's departure triggered a plunge in the income trust's unit price to as low as $5.28 on concern that movie studio New Line Cinema Corp. might cancel its contract because of a "key man" clause. Alliance Atlantis launched legal action against the executives and alleged they were plotting to sell the distributor without approval of its board. But Mr. Loewy returned to work for the distributor as a consultant on the lucrative New Line deal and all lawsuits were dropped. Some analysts saw Mr. Loewy's return to the fold as a precursor to dressing up the firm for a sale. Movie Distribution SOURCE: COMPANY REPORTS
4383	dbpedia	1	2	https://www.imdb.com/title/tt0445935/fullcredits	en	Full Cast & Crew	https://m.media-amazon.c…630,1200_AL_.jpg	https://m.media-amazon.c…630,1200_AL_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-3652291-8583105:893RG6MVY4Z4NH64K52S$uedata=s:%2Frd%2Fuedata%3Fstaticb%26id%3D893RG6MVY4Z4NH64K52S:0", "https://m.media-amazon.com/images/M/MV5BYjI2MDVhY2ItZjgyNS00ZjA1LWFjMTgtNDEzMDBjYzgyZDI2XkEyXkFqcGdeQXVyMTMxMTY0OTQ@._V1_UY98_CR0,0,67,98_AL_.jpg", "https://m.media-amazon.com/images/S/sash/1hnxxL4xRmIMWyq.png", "https://m.media-amazon.com/images/S/sash/mGkoj7mMfYpKOdk.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/N1QWYSqAfSJV62Y.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/mwwP38NFnDXdP7H.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/S/sash/mwwP38NFnDXdP7H.png", "https://m.media-amazon.com/images/S/sash/8ZhQrGnWn9cWUVQ.png", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:134-3652291-8583105:893RG6MVY4Z4NH64K52S$uedata=s:%2Frd%2Fuedata%3Fnoscript%26id%3D893RG6MVY4Z4NH64K52S:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "Message Boards", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	null	Bordertown (2007) cast and crew credits, including actors, actresses, directors, writers and more.		https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0445935/fullcredits	Susan E. Fiore ... first assistant director: second unit (as Susan Fiore) Kaaren F. Ochoa ... first assistant director: US (as Kaären Ochoa) Tsayam Mejía ... second assistant camera: "c" camera, Mexico (as Tsayam Mejia) Tomás Morales ... first assistant camera: "c" camera, Mexico (as Tomas Morales) Marie A.K. McMaster ... casting associate: New Mexico (as Marie A. Kohl) Malena De la Riva ... assistant costume designer: New Mexico / costume supervisor: Mexico (as Melena De la Riva)
4383	dbpedia	2	54	https://www.dailyrindblog.com/welcome-richard-matson/	en	Welcome, Richard Matson!	https://cdn-d.smehost.ne…tson-167x250.jpg	https://cdn-d.smehost.ne…tson-167x250.jpg	[ "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2019/05/dailyrind-logo-new.png", "https://cdn-d.smehost.net/sites/33342fef016449209469a86ecd55cb00/wp-content/uploads/2017/01/Richard-Matson-167x250.jpg", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2016/05/JimWehrfritz.png", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2018/04/caleb-e1523978515133.jpg", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2016/05/ElissaFederoff.png", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2019/05/orchard-footer-logo.png" ]	[]	[]	[ "" ]	null	[ "Meredith Nadeau" ]	2017-02-08T17:05:28+00:00	Richard Matson joins our staff bringing with him a rich background in film distribution. He has bounced all over the country and thankfully landed with us.	en	https://www.dailyrindblog.com/wp-content/themes/twentynineteen-child/favicon.ico	The Daily Rind	https://www.dailyrindblog.com/welcome-richard-matson/	Introducing Richard Matson, Vice President of Theatrical Distribution I hail from the glorious metropolis of Little Rock, AR in the verdant foothills of the mighty Ouachita Mountains (top peak 2753 ft!). From there, I bounced around for college stints at Hampshire, The School of the Art Institute of Chicago, then Columbia College. I made my way to NYC to start my career directing epic, Fellini-esque movies. Filmmaker friends told me that if I wanted to direct I should avoid the industry, get a bartending job and dedicate all of my free time to writing… so I immediately took a job running a production/distribution company. Luckily for me, the two ad agency guys who started the company knew even less about the film business than I did. We had a fantastic time and I learned so much from them about taking risks in an established industry, following your customer/audience, and recognizing the needs and values of all parties along the way. In 4 short years we produced and distributed Adrien Brody’s first 2 starring roles and a political doc with Philip Seymour Hoffman. In 2002, I decided to enter the burgeoning online world and founded a company, Transmission Films, which became the third largest online film distributor in the world. Of course, in 2002, it took 12 hours to download a feature film. Being third largest of nothing isn’t much fun! After 2 years, I sold the company and gratefully reentered the theatrical world with Matson Films. For the past 13 years, I have had the privilege to distribute over 100 films of all shapes and sizes working with a wide variety of clients. Since 2014, The Orchard has been one of those clients – and it has been a true pleasure to work with the entire film team on a fantastic slate of movies. I’ve been a fan of the company since somewhere around 2004. Back then, my best friend was running an all-Arkansan record label. The Orchard secured a $60,000 TV pilot paycheck for one of his no-name artists on a song about a snake and a canoe. Now that’s amazing! After 20 years, I’m still passionate about independent film, am constantly excited by the challenges and opportunities of the ever-changing landscape, and inspired by a community of professionals that believe our medium has a unique ability to change the way people think about the world. The Orchard has assembled an exceptional team with a strong vision for the future. I’m very excited to contribute whatever I can.
4383	dbpedia	2	9	https://www.indiewire.com/news/general/producer-bergstein-acquires-thinkfilm-75854/	en	Producer Bergstein Acquires ThinkFilm	https://www.indiewire.co…d-iw_favicon.png	https://www.indiewire.co…d-iw_favicon.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=300&h=239&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/ScavengersReign_HiRes_Still_10.jpg?w=1977&h=1080&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/TUA_401_Unit_00169R_Crop_4fdb26.jpg?w=1919&h=1080&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/01/Fargo-Season-5-Jon-Hamm-ending.jpg?w=1000&h=667&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/2000s-Week-Elite-Squad_081224_2000x1200-1.jpg?w=2000&h=1200&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/Screen-Shot-2024-08-13-at-11.37.48-AM.png?w=2032&h=1136&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/Dance-Moms-A-New-Era.jpg?w=1200&h=800&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/higher_res_best_films-1.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/Best-TV-shows-2023.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/first-features.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/2000s-Week-Mega-List_080524_2000x1200-2.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/GettyImages-1797148030.jpg?w=300&h=300&crop=1", "https://variety.com/wp-content/uploads/2024/08/EFA-selection.jpg?resize=232,175", "https://www.rollingstone.com/wp-content/uploads/2024/08/jbalvin-will-smith.jpg?resize=232,175", "https://deadline.com/wp-content/uploads/2023/10/N_01904.jpg?resize=232,175", "https://tvline.com/wp-content/uploads/2024/08/jared-padalecki-fire-country-season-4-cast.jpg?resize=232,175", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-1233863261-e1723587846350.jpg?resize=232,175", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Indiewire" ]	2006-10-25T09:27:59+00:00	Producer Bergstein Acquires ThinkFilm	en	https://www.indiewire.co…favicon.png?w=32	IndieWire	https://www.indiewire.com/news/general/producer-bergstein-acquires-thinkfilm-75854/	Film financier and producer David Bergstein announced today a deal to acquire ThinkFilm, the five year old Toronto and New York based film distributor. Bergstein also recently acquired Capitol Films, the leading European production, financing, and sales company. A statement issued today said, “The combination of these two highly regarded entities creates a worldwide distribution apparatus and furthers the growth aspirations of both entities.” In a statement, company president and CEO Jeff Sackman said, “We look forward to a bright and successful future. Today’s transaction will enable THINKFilm to expand even further and faster, giving us extended resources and opportunities to pursue the films we are known for and beyond. Most importantly, we are extremely proud of our accomplishments at THINKFilm. Five years ago, we started from scratch, and with hard work, dedicated employees, and a forward-thinking vision, we built up a sizeable distribution company that continues to deliver quality independent films throughout North America.” Bergstein’s producing credits include “The Wendell Baker Story” and “Laws of Attraction”; the deal was brokered by Hollywood talent agency CAA. [Eugene Hernandez]
4383	dbpedia	1	56	https://www.album-online.com/detail/en/MzYwOWY3MA/bette-davis-paul-muni-bordertown-1935-alb256801	en	BETTE DAVIS and PAUL MUNI in BORDERTOWN, 1935, directed by ARCHIE MAYO. Copyright WARNERS.	https://www.album-online…um_alb256801.jpg	https://www.album-online…um_alb256801.jpg	[ "https://www.album-online.com/common/images/logo-album-66h.png", "https://www.album-online.com/common/images/logo-a-40h.png", "https://www.album-online.com/common/images/search.svg", "https://www.album-online.com/common/images/plus.svg", "https://www.album-online.com/common/images/camera.svg", "https://www.album-online.com/photos/prev/MzYwOWY3MA/album_alb256801.jpg", "https://www.album-online.com/common/images/pinterest_black.svg", "https://www.album-online.com/common/images/twitter_black.svg", "https://www.album-online.com/common/images/facebook_black.svg", "https://www.album-online.com/common/images/copy_black.svg", "https://www.album-online.com/common/images/envelope_black.svg", "https://www.album-online.com/common/images/add_item.svg", "https://www.album-online.com/common/images/remove_item.svg", "https://www.album-online.com/common/images/print.svg", "https://www.album-online.com/common/images/share.svg", "https://www.album-online.com/web/views/images/wait.gif", "https://www.album-online.com/common/images/facebook.svg", "https://www.album-online.com/common/images/linkedin.svg", "https://www.album-online.com/common/images/pinterest.svg", "https://www.album-online.com/common/images/twitter.svg" ]	[]	[]	[ "" ]	null	[]	null	Download this stock image (alb256801) from album-online.com - BETTE DAVIS and PAUL MUNI in BORDERTOWN, 1935, directed by ARCHIE MAYO. Copyright WARNERS.	en		Album	https://www.album-online.com/detail/en/MzYwOWY3MA/bette-davis-paul-muni-bordertown-1935-alb256801
4383	dbpedia	1	57	https://www.bloomberg.com/en/news/thp/2023-11-01/movie-review-in-radical-an-unorthodox-teacher-in-a-violent-mexican-border-town	en	Movie Review: In 'Radical,' an unorthodox teacher in a violent Mexican border town	https://assets.bwbx.io/i…/v0/1200x867.jpg	https://assets.bwbx.io/i…/v0/1200x867.jpg	[ "https://assets.bwbx.io/images/users/iqjWHBFdfxIU/iJOMB.u.5Ht8/v0/-1x-1.jpg" ]	[]	[]	[ "Cities", "Education", "STAND", "Los Angeles", "New Jersey", "Paris", "Rio Grande", "Texas", "Mexico", "War", "pursuits", "business", "screentime" ]	null	[]	2023-11-01T00:00:00	On their first day sixth grade, the students of Jose Urbina Lopez Elementary School in the Mexican border city of Matamoros find their new teacher rolling on the floor surrounded by overturned desks.	en	https://www.bloomberg.co…avicon-black.png	Bloomberg.com	https://www.bloomberg.com/en/news/thp/2023-11-01/movie-review-in-radical-an-unorthodox-teacher-in-a-violent-mexican-border-town	On their first day sixth grade, the students of Jose Urbina Lopez Elementary School in the Mexican border city of Matamoros find their new teacher rolling on the floor surrounded by overturned desks. They’re not desks, he exclaims. They’re lifeboats.
4383	dbpedia	1	3	https://catalog.afi.com/Catalog/moviedetails/823	en	Catalog			[ "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/afi_Logo.png", "https://catalog.afi.com/Content/Images/Icon/search.png", "https://catalog.afi.com/Content/Images/Icon/white_search.png", "https://catalog.afi.com/Content/Images/Icon/search_close.png", "https://catalog.afi.com/Content/Images/Icon/search_small_icon.png", "https://catalog.afi.com/Content/Images/Icon/toggle.png", "https://catalog.afi.com/Content/Images/Icon/white_toggle.png", "https://catalog.afi.com/Content/Images/Icon/search_close.png", "https://catalog.afi.com/Content/Images/Viewed-AFI.svg", "https://catalog.afi.com/Content/Images/Viewed-AFI.svg", "https://catalog.afi.com/Content/Images/Partially-view.svg", "https://catalog.afi.com/Content/Images/Offscreen-Credit.svg", "https://catalog.afi.com/Content/Images/Name-Occurs-B4-Title.svg", "https://catalog.afi.com/Content/Images/Achievement-Award.svg", "https://catalog.afi.com/Content/Images/Icon/top.png" ]	[]	[]	[ "Bordertown", "Archie Mayo", "Jack L. Warner", "Hal B. Wallis", "Robert Lord", "Laird Doyle", "Wallace Smith", "Robert Lord", "Paul Muni", "Bette Davis", "Margaret Lindsay", "Eugene Pallette", "Robert Barrat", "Soledad Jiménez", "Hobart Cavanaugh", "Gavin Gordon", "William B. Davidson", "Arthur Stone", "Vivian Tobin", "Henry O'Neill", "Nella Walker", "George Regas" ]	null	[]	null	In Los Angeles, Johnny Ramirez, a poor Mexican, graduates from Pacific Night Law School, having worked days as a mechanic. Although Johnny is convinced that he will be a great lawyer, earning lots of money, his clients are all poor people from the neighborhood. When he loses his first court case against socialite Dale Elwell because he's poorly prepared, he angrily punches the opposing lawyer, Brook Manville, thinking he has been patronized and discriminated against. As a result, Johnny is disbarred. His dreams of being the Mexican-American Abe Lincoln shattered, Johnny leaves behind his adoring mother and hitchhikes to a border town in Mexico, determined to return as a rich man. He does very well, working his way into a partnership in a successful night club, whose owner, Charlie Roark, admires Johnny, as does his wife Marie. Thinking that her husband is all that stands between her and Johnny, Marie locks a drunken Charlie in the garage, leaving the car motor running. Johnny, i	en	/favicon.ico		https://catalog.afi.com/Catalog/moviedetails/823	The film's pre-release title was New Bordertown. FD notes that Miriam Hopkins was considered for the lead opposite Muni. According to DV, the studio did not intend to credit Carroll Graham because they felt the script was so different from the book. Although credited to different writers, portions of the 1940 Warner Bros. film They Drive By Night closely resemble scenes in this film. Modern sources note that the opening scenes were shot in Los Angeles' Olvera St. According to modern sources, Muni hired a Mexican chauffeur named Manuel and studied his accent and gestures as part of his preparation for the role. ... More Less The film's pre-release title was New Bordertown. FD notes that Miriam Hopkins was considered for the lead opposite Muni. According to DV, the studio did not intend to credit Carroll Graham because they felt the script was so different from the book. Although credited to different writers, portions of the 1940 Warner Bros. film They Drive By Night closely resemble scenes in this film. Modern sources note that the opening scenes were shot in Los Angeles' Olvera St. According to modern sources, Muni hired a Mexican chauffeur named Manuel and studied his accent and gestures as part of his preparation for the role. Less In Los Angeles, Johnny Ramirez, a poor Mexican, graduates from Pacific Night Law School, having worked days as a mechanic. Although Johnny is convinced that he will be a great lawyer, earning lots of money, his clients are all poor people from the neighborhood. When he loses his first court case against socialite Dale Elwell because he's poorly prepared, he angrily punches the opposing lawyer, Brook Manville, thinking he has been patronized and discriminated against. As a result, Johnny is disbarred. His dreams of being the Mexican-American Abe Lincoln shattered, Johnny leaves behind his adoring mother and hitchhikes to a border town in Mexico, determined to return as a rich man. He does very well, working his way into a partnership in a successful night club, whose owner, Charlie Roark, admires Johnny, as does his wife Marie. Thinking that her husband is all that stands between her and Johnny, Marie locks a drunken Charlie in the garage, leaving the car motor running. Johnny, in partnership with Marie, remodels the club into a stylish night club designed to attract the wealthy. One night Dale visits the club with some friends. She playfully starts a flirtation with Johnny, who, misunderstanding, falls in love with her. Sick with jealousy, Marie publicly accuses Johnny of murdering Charlie, but at his trial, she breaks down on the witness stand, having gone insane with guilt. Free at last, Johnny drives to Los Angeles to propose to Dale, who tells him their differences make any marriage impossible. To escape Johnny's anger, she runs into the street, where she is hit by a car. Once again, ... More Less In Los Angeles, Johnny Ramirez, a poor Mexican, graduates from Pacific Night Law School, having worked days as a mechanic. Although Johnny is convinced that he will be a great lawyer, earning lots of money, his clients are all poor people from the neighborhood. When he loses his first court case against socialite Dale Elwell because he's poorly prepared, he angrily punches the opposing lawyer, Brook Manville, thinking he has been patronized and discriminated against. As a result, Johnny is disbarred. His dreams of being the Mexican-American Abe Lincoln shattered, Johnny leaves behind his adoring mother and hitchhikes to a border town in Mexico, determined to return as a rich man. He does very well, working his way into a partnership in a successful night club, whose owner, Charlie Roark, admires Johnny, as does his wife Marie. Thinking that her husband is all that stands between her and Johnny, Marie locks a drunken Charlie in the garage, leaving the car motor running. Johnny, in partnership with Marie, remodels the club into a stylish night club designed to attract the wealthy. One night Dale visits the club with some friends. She playfully starts a flirtation with Johnny, who, misunderstanding, falls in love with her. Sick with jealousy, Marie publicly accuses Johnny of murdering Charlie, but at his trial, she breaks down on the witness stand, having gone insane with guilt. Free at last, Johnny drives to Los Angeles to propose to Dale, who tells him their differences make any marriage impossible. To escape Johnny's anger, she runs into the street, where she is hit by a car. Once again, Johnny must reassess his life. He sells his club, endows a law school with the money, and returns to Los Angeles to live with his own people. Less
4383	dbpedia	2	55	https://www.visitwestchesterny.com/film/	en	Think Film	https://assets.simplevie…b9c6b0c1af06.jpg	https://assets.simplevie…b9c6b0c1af06.jpg	[ "https://res.cloudinary.com/simpleview/image/upload/c_scale,h_143,w_304/v1481752276/filler_mkrutv.png", "https://www.visitwestchesterny.com/includes/public/assets/images/header-logo-2019.svg", "https://www.visitwestchesterny.com/includes/public/assets/images/loveny-sm.png", "https://www.visitwestchesterny.com/includes/public/assets/images/loveny-sm.png", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_150,q_75,w_140/v1/clients/westchesterny/30_089e1be4-759d-4429-8d76-c01acc505dd4.jpg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_150,q_75,w_140/v1/clients/westchesterny/mansionsLenoir_14e64fc6-f7fa-4c31-8b8d-d610291b8d96.jpg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_150,q_75,w_140/v1/clients/westchesterny/Playland_Coaster2_d4c22a5d-866c-441c-b67f-6dc326d3db79.jpg", "https://assets.simpleviewinc.com/simpleview/image/fetch/c_fill,h_278,q_75,w_124/http://res.cloudinary.com/simpleview/image/upload/v1522777133/clients/westchesterny/thinkFilmBroch_3c28f8b2-8e8c-4db8-9656-477bd61481bf.jpg", "https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_308,q_75,w_287/v1/clients/westchesterny/vguide_2019_a3bc6376-61fd-47dc-bc28-6a0f8936a89b.png", "https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/westchesterny/footer_logo_2019_r2_bfdee17d-0aa6-4d1c-8e3e-160a9cbcd41e.png", "https://assets.simpleviewinc.com/simpleview/image/upload/c_pad,h_80,q_75,w_170/v1/clients/westchesterny/USA_vert_url_KO_b273353e-4f2e-425d-b2d6-41a0a1be4cd5.png 1x, https://assets.simpleviewinc.com/simpleview/image/upload/c_pad,h_160,q_75,w_340/v1/clients/westchesterny/USA_vert_url_KO_b273353e-4f2e-425d-b2d6-41a0a1be4cd5.png 2x", "https://assets.simpleviewinc.com/simpleview/image/upload/c_pad,h_80,q_75,w_170/v1/clients/westchesterny/white_hvt_logo_65c74e5b-1c1a-4017-ae5e-a8650e877542.png 1x, https://assets.simpleviewinc.com/simpleview/image/upload/c_pad,h_160,q_75,w_340/v1/clients/westchesterny/white_hvt_logo_65c74e5b-1c1a-4017-ae5e-a8650e877542.png 2x", "https://www.visitwestchesterny.com/includes/public/assets/images/made-by.svg" ]	[]	[]	[ "" ]	null	[]	null					https://www.visitwestchesterny.com/film/	Film in Westchester. We make it easy! There’s a reason Westchester County is a popular destination for film and television productions. We have a diverse array of locations, many within the NYC film zone, film-friendly communities, professional crews and suppliers, and state-of-the art sound stages and post-production facilities. We also have a proactive and responsive film office that provides hands-on support to make your production a success. Just minutes north of New York City, Westchester County is easy to access, and easy to get around. What’s more, New York State’s film incentive program is among the most competitive in the nation. For more information, see our FAQs, contact our film office, and follow us on Facebook. We're easy to get to and easy to work with. Just give us a call. We'll help you find the right spot for your next production. Read our brochure for a general overview. Resources Find crews or vendors, list your property as a film location, plan your stay in Westchester County, and learn about the NYS film tax credit. About Us Need some help? Let the Westchester County Film Office serve as your concierge, from selecting the perfect location to planning and executing your commercial, television or film production. News Read our press coverage and our film office blog to learn what's happening in the world of film in Westchester. Filmed in Westchester More than 160 feature films have been filmed in Westchester since 1965, plus many television series, commercials and music videos. Payment portal For prearranged transactions only.
4383	dbpedia	3	19	https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/	en	ThinkFilm Launches Kids Division	https://www.billboard.co…icon-512x512.png	https://www.billboard.co…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Weaver.jpg?resize=225,169", "https://www.vibe.com/wp-content/uploads/2024/08/hughley.png?resize=225,169", "https://wwd.com/wp-content/uploads/2024/08/street-style-trend-brooches-09.jpg?resize=225,169", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-2160341375-e1724696551678.jpg?resize=225,169", "https://www.rollingstone.com/wp-content/uploads/2024/08/171914_1512r.jpg?resize=225,169", "https://www.billboard.com/wp-content/uploads/2024/08/cover-asap-rocky-billboard-2024-bb12-08242024-1500.jpg?w=788", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Billboard Staff" ]	2005-02-28T05:00:00+00:00	First titles include 'My First Day.'	en	https://www.billboard.co…e-touch-icon.png	Billboard	https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/	Independent film distributor ThinkFilm is launching the specialty division ThinkFilm Kids. The unit will focus on the home video market with educational product aimed at children up to 9 years old. The first ThinkFilm Kids titles will come from the series “My First Day” and “Braincandy.” “My First Day” focuses on new experiences. “My First Day at Preschool” will be released this summer; other titles to follow will include “My First Day at the Doctor,” “My First Day at the Zoo” and “My First Sibling.” The “Braincandy” series, for children up to 5, helps with independent thinking and creativity. The first release will be “Braincandy: My 5 Senses.” An exact time frame for the release is not yet known. Future titles include “Fingercandy” and “Eyecandy.” ThinkFilm has offices in Toronto, New York and Los Angeles. Its theatrical projects include best documentary Academy Award winner “Born Into Brothels” and Sundance Grand Prize winner “Primer.”
4383	dbpedia	2	43	https://filmrise.com/	en	Film & TV Distribution	https://filmrise.com/upl…Option-4.1HD.jpg	https://filmrise.com/upl…Option-4.1HD.jpg	[ "https://filmrise.com/uploads/images/_xLarge/1920x1080_PrimeSuspect_S1_textless.jpg", "https://filmrise.com/uploads/images/_xLarge/Illusionist.jpg", "https://filmrise.com/uploads/images/_xLarge/Heartland.jpg", "https://filmrise.com/uploads/images/_xLarge/MidsomerMurders_V2.jpg", "https://filmrise.com/uploads/images/_xLarge/DICKVANDYKE_1920x1080_ColorCorrected.jpg", "https://filmrise.com/uploads/images/_xLarge/KimsConvenience.jpg", "https://filmrise.com/uploads/images/_xLarge/1920x1080_HotOnes_Background.jpg", "https://filmrise.com/uploads/images/_xLarge/1920x1080_UpstairsDownstairs_textless.jpg", "https://filmrise.com/uploads/images/_xLarge/1920x1080_ZNation_S1_textless.jpg", "https://filmrise.com/uploads/images/_xLarge/02_09_DOC-_MARTIN_b.jpg", "https://filmrise.com/uploads/images/_regular/Amazon-Prime-Video-2-final.png 900w, /uploads/images/_medium/Amazon-Prime-Video-2-final.png 600w, ", "https://filmrise.com/uploads/images/_regular/Roku-jack.png 900w, /uploads/images/_medium/Roku-jack.png 600w, ", "https://filmrise.com/uploads/images/_regular/Pluto_TV_Logo_Pluto_Black_RGB.png 900w, /uploads/images/_medium/Pluto_TV_Logo_Pluto_Black_RGB.png 600w, ", "https://filmrise.com/uploads/images/_regular/New-Tubi-Purple.png 900w, /uploads/images/_medium/New-Tubi-Purple.png 600w, ", "https://filmrise.com/uploads/images/_regular/peacock-2020.png 900w, /uploads/images/_medium/peacock-2020.png 600w, ", "https://filmrise.com/uploads/images/_regular/3.-iTunes.png 900w, /uploads/images/_medium/3.-iTunes.png 600w, ", "https://filmrise.com/uploads/images/_regular/6.-Netflix.png 900w, /uploads/images/_medium/6.-Netflix.png 600w, ", "https://filmrise.com/uploads/images/_regular/5.-Hulu.png 900w, /uploads/images/_medium/5.-Hulu.png 600w, ", "https://filmrise.com/uploads/images/_regular/Hbo-max_color_2019.png 900w, /uploads/images/_medium/Hbo-max_color_2019.png 600w, ", "https://filmrise.com/uploads/images/_regular/Hbo-Jack.png 900w, /uploads/images/_medium/Hbo-Jack.png 600w, ", "https://filmrise.com/uploads/images/_regular/8.-Showtime.png 900w, /uploads/images/_medium/8.-Showtime.png 600w, ", "https://filmrise.com/uploads/images/_regular/STARZ-logo.png 900w, /uploads/images/_medium/STARZ-logo.png 600w, ", "https://filmrise.com/uploads/images/_regular/Vudu_190408_115933.png 900w, /uploads/images/_medium/Vudu_190408_115933.png 600w, ", "https://filmrise.com/uploads/images/_regular/SAMSUNG_TV_PLUS_PRIMARY_STACKED_LOGO_COLOURED_BLACK_RGB.png 900w, /uploads/images/_medium/SAMSUNG_TV_PLUS_PRIMARY_STACKED_LOGO_COLOURED_BLACK_RGB.png 600w, ", "https://filmrise.com/uploads/images/_regular/Vizio_190520_160237.png 900w, /uploads/images/_medium/Vizio_190520_160237.png 600w, ", "https://filmrise.com/uploads/images/_regular/Xumo_Full_color.png 900w, /uploads/images/_medium/Xumo_Full_color.png 600w, ", "https://filmrise.com/uploads/images/_regular/redbox-2020.png 900w, /uploads/images/_medium/redbox-2020.png 600w, ", "https://filmrise.com/uploads/images/_regular/Crackle-2020-3.png 900w, /uploads/images/_medium/Crackle-2020-3.png 600w, ", "https://filmrise.com/uploads/images/_regular/11.-Discovery.png 900w, /uploads/images/_medium/11.-Discovery.png 600w, ", "https://filmrise.com/uploads/images/_regular/BET-plus.png 900w, /uploads/images/_medium/BET-plus.png 600w, ", "https://filmrise.com/uploads/images/_regular/InvestigationDiscovery-2.png 900w, /uploads/images/_medium/InvestigationDiscovery-2.png 600w, ", "https://filmrise.com/uploads/images/_regular/Cnn-smaller.png 900w, /uploads/images/_medium/Cnn-smaller.png 600w, ", "https://filmrise.com/uploads/images/_regular/PBS.png 900w, /uploads/images/_medium/PBS.png 600w, ", "https://filmrise.com/uploads/images/_regular/Sling-Jack.png 900w, /uploads/images/_medium/Sling-Jack.png 600w, ", "https://filmrise.com/uploads/images/_regular/Kanopy.png 900w, /uploads/images/_medium/Kanopy.png 600w, ", "https://filmrise.com/uploads/images/_regular/RTV-Logo-PNG_Rakuten_TV_Logo_R.png 900w, /uploads/images/_medium/RTV-Logo-PNG_Rakuten_TV_Logo_R.png 600w, ", "https://filmrise.com/uploads/images/_regular/Waipu-tv-logo-2020.png 900w, /uploads/images/_medium/Waipu-tv-logo-2020.png 600w, ", "https://filmrise.com/uploads/images/_regular/Britbox.png 900w, /uploads/images/_medium/Britbox.png 600w, ", "https://filmrise.com/uploads/images/_regular/168607722626854484.png 900w, /uploads/images/_medium/168607722626854484.png 600w, ", "https://filmrise.com/uploads/images/_regular/Ovation-smaller.png 900w, /uploads/images/_medium/Ovation-smaller.png 600w, ", "https://filmrise.com/uploads/images/_regular/Xbox_190520_160157.png 900w, /uploads/images/_medium/Xbox_190520_160157.png 600w, ", "https://filmrise.com/uploads/images/_regular/Stirr.png 900w, /uploads/images/_medium/Stirr.png 600w, ", "https://filmrise.com/uploads/images/_regular/Google-TV.png 900w, /uploads/images/_medium/Google-TV.png 600w, ", "https://filmrise.com/uploads/images/_regular/Amazon_Freevee_2022.png 900w, /uploads/images/_medium/Amazon_Freevee_2022.png 600w, ", "https://filmrise.com/uploads/images/_large/facebook.png", "https://filmrise.com/uploads/images/_large/Instagram_Glyph_White.png", "https://filmrise.com/uploads/images/_large/170378375537262101.png", "https://filmrise.com/uploads/images/_large/TikTok-Social-Icon-Mono-White.png", "https://filmrise.com/uploads/images/_large/threads-logo-white-01.png", "https://filmrise.com/uploads/images/_large/youtube.png" ]	[]	[]	[ "film", "distribution", "filmrise", "TV" ]	null	[ "FilmRise" ]	2017-12-19T16:47:49+00:00	We embrace the nature of today’s ever-changing industry, applying a multi-tiered strategy to deliver the best in film and television.	en	/images/favi/apple-icon-57x57.png	FilmRise	https://filmrise.com
4383	dbpedia	1	16	https://www.rottentomatoes.com/m/bordertown_1935/reviews	en	Bordertown - Movie Reviews	https://resizing.flixster.com/nznhycn69LUO3TONmEl4TsV4QOo=/206x305/v2/https://resizing.flixster.com/cgClw9ZFkrlV0TsPfNM22CvAvvo=/ems.cHJkLWVtcy1hc3NldHMvbW92aWVzLzc5ZTcyYjdmLTlkMDEtNDgwMy04OWE4LTA5Y2M2NDUwZjI4NS53ZWJw	https://resizing.flixster.com/nznhycn69LUO3TONmEl4TsV4QOo=/206x305/v2/https://resizing.flixster.com/cgClw9ZFkrlV0TsPfNM22CvAvvo=/ems.cHJkLWVtcy1hc3NldHMvbW92aWVzLzc5ZTcyYjdmLTlkMDEtNDgwMy04OWE4LTA5Y2M2NDUwZjI4NS53ZWJw	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/nznhycn69LUO3TONmEl4TsV4QOo=/206x305/v2/https://resizing.flixster.com/cgClw9ZFkrlV0TsPfNM22CvAvvo=/ems.cHJkLWVtcy1hc3NldHMvbW92aWVzLzc5ZTcyYjdmLTlkMDEtNDgwMy04OWE4LTA5Y2M2NDUwZjI4NS53ZWJw", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/_QtcMxpXIgK8Kg9kNR_wXTBeezs=/fit-in/50x50/v2/http://resizing.flixster.com/XBX4VkO9ULA-_14wans8F4iDc2M=/128x128/v1.YzszNTE1O2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/u6AdREnkz4wyk7T0vJiBzPE837c=/fit-in/50x50/v2/http://resizing.flixster.com/44jlDHD3soEKOxBMSGOKLrMDfDQ=/128x128/v1.YzsyNDg3O2c7MTk5ODA7MjA0ODsxNTI7MTY4", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/col_Xr9hTmAJmNrhTkH64Ny20ZY=/fit-in/50x50/v2/http://resizing.flixster.com/e2YmmGJ7x__NfQn7lyiI-6co_cA=/128x128/v1.YzszNDUxO2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Rotten Tomatoes, home of the Tomatometer, is the most trusted measurement of quality for Movies & TV. The definitive site for Reviews, Trailers, Showtimes, and Tickets	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/bordertown_1935/reviews	[Muni's] performance, on the whole, is a typical Muni performance -- being vigorous, simple, unaffected and believable. He is one of those rare actors whose talents don't seem to be thrown pell-mell into the very teeth of the camera. Full Review \| Sep 20, 2019 If you can forget some of the details (like Soledad Jiménez being the only authentic Hispanic person in the film), you will leave this film satisfied. [Full Review in Spanish] Full Review \| Sep 20, 2019 Beautifully shot by Tony Gaudio, well acted, grippingly directed, the film makes acutely acerbic points about privilege and prejudice; but typically of Warners in its social conscience mode, settles in the end for the status quo. Full Review \| Sep 20, 2019 "Bordertown" otherwise manages to impale the spectator's attention before the picturesque and somewhat hysterical materials of the story. Full Review \| Sep 16, 2019 Finish is phoney, but it can't hurt the previous good work. Casting throughout the film, which is also well written [from a novel by Carrol Graham] and paced, is exceptionally good. Full Review \| Sep 16, 2019 The role of Johnny is one of those tense, slightly overwrought characterizations in which Paul Muni excels. Full Review \| Aug 6, 2019 Noteworthy for another of Bette Davis' portrayals of a pathological hussy. She steals the picture away from Paul Muni. Full Review \| Jun 7, 2019
4383	dbpedia	1	41	https://cinema.cornell.edu/crossing-columbus	en	Crossing Columbus	https://cinema.cornell.eduCrossing Columbus	https://cinema.cornell.eduCrossing Columbus	[ "https://cinema.cornell.edu/sites/default/files/Cornell-Cinema.png", "https://cinema.cornell.edu/sites/default/files/styles/pano/public/crossing-columbus.jpg?itok=yjHMIkeI", "https://cinema.cornell.edu/sites/default/files/styles/landscape/public/inline-event-images/crossing-columbus-LG_0.jpg?itok=Jeu3ZKuE" ]	[ "https://cdnapisec.kaltura.com/p/520801/sp/52080100/embedIframeJs/uiconf_id/31230021/partner_id/520801?iframeembed=true&playerId=kaltura_player&entry_id=1_x769evc2&flashvars[streamerType]=auto&flashvars[localizationCode]=en&flashvars[leadWithHTML5]=true&flashvars[sideBarContainer.plugin]=true&flashvars[sideBarContainer.position]=left&flashvars[sideBarContainer.clickToClose]=true&flashvars[chapters.plugin]=true&flashvars[chapters.layout]=vertical&flashvars[chapters.thumbnailRotator]=false&flashvars[streamSelector.plugin]=true&flashvars[EmbedPlayer.SpinnerTarget]=videoHolder&flashvars[dualScreen.plugin]=true&flashvars[Kaltura.addCrossoriginToIframe]=true&&wid=1_y6063fcn", "https://player.vimeo.com/video/414541725" ]	[]	[ "" ]	null	[]	2024-10-08T20:01:00		en	/sites/default/files/favicon.ico		https://cinema.cornell.edu/crossing-columbus	Q&A with filmmaker Cathy Crane (10/14/2020) “History haunts the border town of Columbus, N.M. when Mexican riders on horseback cross the line to commemorate Pancho Villa’s 1916 raid. As border dwellers and their divergent accounts of the Villa raid are introduced, the more subtle work a borderline does in shaping their lives comes into focus.” (Ashland Independent Film Festival) A special Central New York regional screening. Director’s Statement: “I was born in the Southwest. From a landscape I know well, and through the lens of history, this film's story is told. At the height of the Mexican Revolution, Pancho Villa raided Columbus, N.M. Every year, the town’s commemoration of the raid opens old wounds. After decades of repetition, this story has come to shape the town’s identity. In today’s climate, crossing the border between the US and Mexico in a ceremony of bi-national reconciliation is as exceptional as it is inevitable. My visual perspective fashioned over 25 years of hybrid film-making combines pristine archival material of the raid and the US military expedition which followed it with a camera that observes its present-day interlocutors from an intimate distance. I spent months with these border dwellers. Each of their stories about Villa dovetails with those of their own life in the borderlands to create a crucial, timely portrait of the US/Mexico border.” Filmmaker Cathy Lee Crane has been charting a speculative history on film since 1994, and in 2013, was awarded a Guggenheim Fellowship for her lyrical re-combinations of archival and staged material. Her body of work enjoyed its first survey in 2015 as part of the American Original Now series at the National Gallery of Art. Crane’s award-winning films (which include the experimental biographies Pasolini’s Last Words and Unoccupied Zone: The Impossible Life of Simone Weil) have screened at Viennale, San Francisco International Film Festival, Festival du Nouveau Cinema, Cinematheque Francais, BFI, and Arsenal/Berlin and are distributed by Canyon Cinema, Lightcone, and Films Media Group. Her first feature-length fictional hybrid The Manhattan Front (2018) premiered at SFIndie Fest in 2018 with a profile in Filmmaker Magazine. Crossing Columbus, a feature-length documentary about the border town of Columbus, New Mexico was supported by the Rockefeller Foundation Bellagio Center Residency and the El Paso Cultural Foundation. Her engagement with the history of the US/Mexico border will continue as a 2021 Residency Fellow at the Harun Farocki Institut in Berlin, where she will prepare an installation of Drawing the Line, a film series presented at the 2019 Poetics and Politics Documentary Research Symposium at UC Santa Cruz. Crane is Associate Professor in the Department of Cinema and Photography at Ithaca College. website: crossingcolumbus.com Ithaca Premiere
4383	dbpedia	2	80	https://www.usheru.com/2023/10/25/how-film-distributors-can-win-at-seo/	en	How Film Distributors Can Win at SEO	https://www.usheru.com/w…SEO-1024x670.png	https://www.usheru.com/w…SEO-1024x670.png	[ "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-300x61.png 300w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-1024x207.png 1024w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-768x155.png 768w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-1536x310.png 1536w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-2048x414.png 2048w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-e1704303867507.png 1920w", "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-300x61.png", "https://www.usheru.com/wp-content/uploads/2023/10/SEO.png 1470w, https://www.usheru.com/wp-content/uploads/2023/10/SEO-300x196.png 300w, https://www.usheru.com/wp-content/uploads/2023/10/SEO-1024x670.png 1024w, https://www.usheru.com/wp-content/uploads/2023/10/SEO-768x503.png 768w", "https://www.usheru.com/wp-content/uploads/2023/10/SEO.png", "https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-1024x537.png 1024w, https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-300x157.png 300w, https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-768x403.png 768w, https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-1536x806.png 1536w, https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-2048x1075.png 2048w", "https://www.usheru.com/wp-content/uploads/2023/10/Altitude-image-keyword-1024x537.png", "https://www.usheru.com/wp-content/uploads/2023/10/whitney-altitude-957x1024.png 957w, https://www.usheru.com/wp-content/uploads/2023/10/whitney-altitude-280x300.png 280w, https://www.usheru.com/wp-content/uploads/2023/10/whitney-altitude-768x822.png 768w, https://www.usheru.com/wp-content/uploads/2023/10/whitney-altitude.png 1230w", "https://www.usheru.com/wp-content/uploads/2023/10/whitney-altitude-957x1024.png", "https://www.usheru.com/wp-content/uploads/2023/10/IMG_1EFC1E60A95E-1-707x1024.jpeg 707w, https://www.usheru.com/wp-content/uploads/2023/10/IMG_1EFC1E60A95E-1-207x300.jpeg 207w, https://www.usheru.com/wp-content/uploads/2023/10/IMG_1EFC1E60A95E-1.jpeg 750w", "https://www.usheru.com/wp-content/uploads/2023/10/IMG_1EFC1E60A95E-1-707x1024.jpeg", "https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-1024x446.png 1024w, https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-300x131.png 300w, https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-768x335.png 768w, https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-1536x670.png 1536w, https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-2048x893.png 2048w", "https://www.usheru.com/wp-content/uploads/2023/10/where-to-watch-1024x446.png", "https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6.png 1600w, https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6-300x169.png 300w, https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6-1024x576.png 1024w, https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6-768x432.png 768w, https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6-1536x864.png 1536w, https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6-800x450.png 800w", "https://www.usheru.com/wp-content/uploads/2024/07/All-white-logo-6.png", "https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4.png 1600w, https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4-300x169.png 300w, https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4-1024x576.png 1024w, https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4-768x432.png 768w, https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4-1536x864.png 1536w, https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4-800x450.png 800w", "https://www.usheru.com/wp-content/uploads/2024/06/All-white-logo-4.png", "https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-scaled.jpg 2560w, https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-300x200.jpg 300w, https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-1024x683.jpg 1024w, https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-768x512.jpg 768w, https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-1536x1024.jpg 1536w, https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-2048x1365.jpg 2048w", "https://www.usheru.com/wp-content/uploads/2024/07/pexels-jibarofoto-18482994-scaled.jpg", "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Logo_U_Green-Zing.png 586w, https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Logo_U_Green-Zing-206x300.png 206w", "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Logo_U_Green-Zing.png", "https://media.usheru.com/wp-content/uploads/2022/04/tmdblogo.png", "https://media.usheru.com/wp-content/uploads/2022/04/tmdblogo.png", "https://media.usheru.com/wp-content/uploads/2022/04/CreativeEurope-logo.png", "https://media.usheru.com/wp-content/uploads/2022/04/CreativeEurope-logo.png", "https://media.usheru.com/wp-content/uploads/2022/04/17154301/EN_Co-fundedbytheEU_RGB_NEG-e1681746511872.png 500w, https://media.usheru.com/wp-content/uploads/2022/04/17154301/EN_Co-fundedbytheEU_RGB_NEG-e1681746511872-300x67.png 300w", "https://media.usheru.com/wp-content/uploads/2022/04/17154301/EN_Co-fundedbytheEU_RGB_NEG-e1681746511872.png", "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-300x61.png", "https://www.usheru.com/wp-content/uploads/2022/03/RS_01092_Usheru_Branding_Full-Logo_Full-Colour_RGB-300x61.png" ]	[]	[]	[ "" ]	null	[ "lkuscer" ]	2023-10-25T00:00:00	Digital presence is crucial for film distribution. Get started with film distributors SEO to enhance your search engine rankings.	en	https://www.usheru.com/w…icon-150x150.png	usheru	https://www.usheru.com/2023/10/25/how-film-distributors-can-win-at-seo/	Last updated: 3rd Jan 2019 We fully abide by the General Data Protection Regulations (2018) and will therefore not share any of your data or information with 3rd parties, unless on an agreed basis. We Love Cinema Ltd ( “we”, or “us”) at 13-18 Chancery Street, Smithfield, Dublin 7, Ireland knows that you care how information about you is used and shared. This Privacy Statement explains what information of yours will be collected by We Love Cinema Ltd when you use our websites. We will also explain how and why we use this information collected. Lastly you can at any time cancel, correct or delete the information/data “we” have collect on your part. We will not use or share your information with anyone except as described in this Privacy Statement. The data we collect is used to understand, in a general way, which films are of interest to which types of groups in the general population, and the ways in which they buy tickets for these films at the cinema. We collect this data in collaboration with our film distribution partners and all cinema partners, who will be privy to the information which identifies you (such that the lack of it may cause some issues when redeeming your ticket at the cinema), and have restricted access to anonymised data which identifies your behaviour in a group and on our website. When purchasing any ticket from We Love Cinema Limited or subscribing to our products, you will be asked each time to accept our Terms & Conditions, to ensure we have obtained your consent to share your information for the redemption of the product or service. By visiting this webpage, you are accepting the practices described in this Privacy Statement. [Please see Right to Erasure section below should you wish take action with regard to the removal of your information as a data subject] USER PROVIDED INFORMATION AND SHARING YOUR INFORMATION We receive and store any information you enter on our website or give us in any other way. You can choose not to provide this information but this means that you will not be able to fully avail of all the features that we have to offer. Information you provide: If you buy a ticket, we collect your name, email address and payment information. We will share your name and email address with the exhibitor and distributor.” If you accept to receive marketing communications from the exhibitor or distributor, we will collect your email address and share it with the relevant party.” If you enter a competition, we will gather your email address and competition specific information.” If you request a movie for your city, we will gather your email address and a location you specifically requested the movie for.” Automatically collected information: When you access our Services online, for example by visiting our websites, we collect automatically some information in relation to your use of the Services. For example, the amount of time you spend on your website site, pages you visit on the site and content you may have viewed. We also receive and collect general information about the device and/or software you use. This includes for example make of device, operating system and IP address (a unique number used to identify a device on the internet), mobile device advertising identifier (a resettable identifier that is assigned to your mobile device by your operating system provider, such as Apple or Google) or other device identifier, the page you visited before visiting our website, and crash data. Information from Third Parties; If you are looking to purchase tickets or other items, we may offer you with the ability to log on using your credentials from other services including Facebook, Twitter and Google. If you chose to log in using such credentials, the third party services will provide us with access to information about you relevant to the purchase. This is limited to basic profile information including your name and email address, in accordance with your privacy policy on that service. The data will be stored on servers in the jurisdiction of Ireland. A user can, at any time, request access to his/her personal data from We Love Cinema Ltd. YOUR RIGHT OF ERASURE We will honour your Right of Erasure, as provisioned for in the General Data Protection Regulations 2018. In this circumstance, we will require you to email privacy@usheru.com. If you request to be forgotten, we will remove information related to you as a data subject. SOCIAL NETWORKS By using the Site’s social network connection function, you will grant us permission to access all of the elements of your social network profile information that you have made available to be shared (as per the settings chosen by you in your social network profile) and to use it in accordance with the social network’s terms of use and this Privacy Statement. GEOLOCATION When you access the website, we may ask you for permission to gather information about your geolocation. This information is used to provide you with location-based services, such as local showtimes, search results, and other personalized content. COOKIES Like many websites, we use “cookies,” and we obtain certain types of information when your Web browser accesses We Love Cinema Ltd websites or other content served by or on behalf of We Love Cinema Ltd on other Web sites. The “help” portion of the toolbar on most browsers will tell you how to prevent your browser from accepting new cookies, how to have the browser notify you when you receive a new cookie, or how to disable cookies altogether. Additionally, you can disable or delete similar data used by browser add-ons, such as Flash cookies. However, because cookies allow you to take full advantage of some of We Love Cinema’s essential features, we recommend that you leave them turned on. SECURITY We value your security, and understand it is our responsibility to ensure that your data remains protected and secure. In order to prevent unauthorised access or disclosure we have put in place suitable physical, electronic and managerial procedures to safeguard and secure the information we collect online. We commit to not store your information for longer than is necessary for the purposes described in this Privacy Statement. After a reasonable period, data may only be stored at anonymised data, and will not identify you as an individual. LINKS TO OTHER WEBSITES We are not responsible for the practices employed by websites linked to or from our website nor the information or content contained therein. Please remember that when you use a link to go from our website to another Web site, our Privacy Statement is no longer in effect. DATA PROTECTION OFFICER We have appointed a Data Protection Officer at We Love Cinema Limited who is available to review your requests and oversees our data security on an ongoing basis. VIDEO PRIVACY
4383	dbpedia	3	23	https://www.indiewire.com/news/general-news/thinkfilm-adds-born-into-brothels-to-doc-roster-78681/	en	THINKFilm Adds “Born Into Brothels” to Doc Roster	http://i2.indiewire.com/images/uploads/archival/biz/photos/biz_040907think.jpg	http://i2.indiewire.com/images/uploads/archival/biz/photos/biz_040907think.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.indiewire.com/wp-content/uploads/2016/05/iw.jpg?w=300&h=239&crop=1", "http://i2.indiewire.com/images/uploads/archival/biz/photos/biz_040907think.jpg", "https://www.indiewire.com/wp-content/uploads/2024/08/sam3.jpg?w=3000&h=3000&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/carmela-soprano-main.jpg?w=854&h=480&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/04/MSDVERT_EC012.jpg?w=3000&h=2458&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/STH3-FF-003K_0.jpg?w=2250&h=943&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/MV5BNTA0ZDY5M2UtNzIyMy00YWRlLTk2N2EtZTU1NTkyMjc1MzZlXkEyXkFqcGdeQXVyMTUwNTEyMjIy._V1_FMjpg_UX1000_.jpg?w=1000&h=563&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/Screen-Shot-2024-08-27-at-8.55.48-AM.png?w=1210&h=672&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/higher_res_best_films-1.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/Best-TV-shows-2023.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/first-features.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/sam2_c662cf.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/Jon-and-Jenn-in-TMS.png?w=300&h=300&crop=1", "https://variety.com/wp-content/uploads/2024/08/weaver.jpg?resize=232,175", "https://www.rollingstone.com/wp-content/uploads/2024/08/171914_1512r.jpg?resize=232,175", "https://deadline.com/wp-content/uploads/2024/08/Sigourney-Weaver_01.jpg?resize=232,175", "https://tvline.com/wp-content/uploads/2024/08/acapulco-season-4-renewed-apple-tv-plus.png?resize=232,175", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-2160341375-e1724696551678.jpg?resize=232,175", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Indiewire" ]	2004-09-07T06:00:00+00:00	THINKFilm Adds "Born Into Brothels" to Doc Roster	en	https://www.indiewire.co…favicon.png?w=32	IndieWire	https://www.indiewire.com/news/general-news/thinkfilm-adds-born-into-brothels-to-doc-roster-78681/	by Eugene Hernandez THINKFilm has added Ross Kauffman & Zana Briski‘s “Born Into Brothels” to a roster of new docs to be released by the company. Mark Urman, the company’s head of U.S. theatrical distribution, announced the deal on Friday and revealed a full list of docs recently added to the THINKFilm slate. “Born Into Brothels” won the documentary audience award at Sundance this year and has also won festival awards at numerous fests since, including Seattle, Atlanta, Cleveland, Nashville, Full Frame, Sydney and others. The company will release the movie in association with HBO/Cinemax Documentary Films in December. The company also worked with HBO/Cinemax on its releases of “Spellbound” and “The Agronomist.” Kauffman & Briski’s film is a portrait of the children of prostitutes living in Calcutta’s red light district. Briski gave cameras to the children and taught them how to capture their world. Andrew Herwitz of the Film Sales Company brokered the deal with THINKFilm’s SVP of acquisitions and business affairs Randy Manis and VP of acquisitions Daniel Katz.
4383	dbpedia	2	38	https://www.theguerrillarep.com/blog/how-did-film-distribution-get-so-broken	en	How Did Film Distribution Get So Broken? — Guerrilla Rep Media	http://static1.squarespace.com/static/641c70c6404e8240d813222f/641c82d5c65ee52a3811e8dc/646e55186e63382830d0ae74/1684953148451/How+did+Film+Distribution+get+so+broken.jpg?format=1500w	http://static1.squarespace.com/static/641c70c6404e8240d813222f/641c82d5c65ee52a3811e8dc/646e55186e63382830d0ae74/1684953148451/How+did+Film+Distribution+get+so+broken.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v2/namespaces/memberAccountAvatars/libraries/641c70c4ef5a276893a5af4d/e872500bbdc9479ab770df18ff47d213/e872500bbdc9479ab770df18ff47d213.jpeg?format=300w" ]	[]	[]	[ "" ]	null	[ "Ben Yennie" ]	2019-05-29T14:19:00-04:00	Filmmakers know the system sales agents use to exploit their content is well, exploitative. The issue runs deeper that dishonesty. Here’s an exploration.	en	https://images.squarespace-cdn.com/content/v1/641c70c6404e8240d813222f/b01f6638-445a-47b7-a5b2-90fd18c71b66/favicon.ico?format=100w	Guerrilla Rep Media	https://www.theguerrillarep.com/blog/how-did-film-distribution-get-so-broken	It’s no secret that many (if not most) filmmakers think film distribution is broken. While there are many reasons for it, part of it is due to the rapid change in the amount of money flowing to distributors, and what constituted effective marketing. What works for marketing films now isn't what worked in the past, and the systems distributors built themselves around have fallen apart. Here's an elaboration. First, some history. Independent Film Distribution used to be primarily a game of access. By controlling the access and becoming a gatekeeper, it was easy to make buckets of cash. If you had a VHS printer and access to a warehouse facility that could help you ship to major retail outlets you could make literal millions off of a crappy horror film. In those days it was also significantly harder and significantly more expensive to make a film, as you’d need to buy 16mm or 35mm film, get it duplicated, cut it by hand using a viola, and then reassemble it and have prints made. This was a very expensive process, so the number of independent films that were made was much smaller than it is today. Then DVD came along, and around the same time some of the early films from the silent era that actually had followings entered the public domain. As such, a good amount of companies started printing those to acquire enough capital to buy libraries and eventually build themselves into major studios. Sure, DVD widened the gate a bit, but it also expanded the market so everyone was happy. Around this time, Non-Linear Editors and surprisingly viable digital and tape cameras were coming into prominence. As a result, it became much more possible to make an independent film than it was before. Of course, at that time it was still beyond the reach of most people, and since the average amount of content being made went up, the demand was growing enough that there still wasn’t a massive issue with oversaturation. A similar expansion was expected with Blu-Ray, but at around the same time, alternative services like iTunes were starting to become viable as broadband internet was becoming commonplace. As such, the demand for physical media started to dwindle, and as a result, the revenue being made dropped. At the same time, Full HD cameras were now very affordable, and some even rivaled 35mm film. So the amount of money being made in the industry went down, and more films were being made than ever before. Shortly after that, the ability to disintermediate and cut out the gatekeepers came to be. As such, the market became flooded with often low-quality films that the challenge was no longer getting your film out there, it was now getting your film noticed. That’s where we are now, and nobody has fully been able to solve that problem yet. Here’s a summary of how we got there, and how the process of distribution has changed. Access USED to be enough It used to be that access was all you needed. Once you had that, you could make an insane amount of money selling other people’s content. Sell it on the box art The box art being caught was the most important thing. Stores didn’t let you return movies because you didn’t like them, and other than your own limited circle of friends consumers didn’t have a lot of power to let people know about bad movies, or bad products in general. Sell it on the trailer Even if it was bad, nothing would come of it. Once you had their money, that was all you needed. The idea of making your money in the first weekend before bad word of mouth got around was much more viable as people couldn’t just tweet it out or rant about it on Facebook or YouTube. Let’s contrast that with how things work Now: Access is easy Anyone with a few thousand dollars can put their film up on most Transactional platforms on the internet. You can also put it on Amazon or Vimeo yourself for free. There are very few in terms of quality controls. the Poster/keyart is still important, but reviews are more important. Sure, people still get their eyes caught by a poster. But the reviews matter significantly more in terms of getting them to a purchase decision. The poster may catch their eye, but the meta score from users on whatever platform you’re watching the film on is important. The trailer might still be the deciding factor Generally, after people see the poster, they’ll read the synopsis, and then they’ll either watch the trailer or read the reviews. If they watch the trailer, they may have more leniency on reviews. Also, if the trailer is really good, it can get a bit of viral spread. If it’s bad, it will become known.
4383	dbpedia	3	1	https://en.wikipedia.org/wiki/ThinkFilm	en	ThinkFilm	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/ThinkFilm_logo.svg/200px-ThinkFilm_logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-12-30T22:47:57+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/ThinkFilm	Defunct American film distribution company ThinkFilm (stylized as TH!NKFilm) was an American film distribution company founded in September 2001. It had been a division of David Bergstein’s Capitol Films since 2006. On October 5, 2010, five of Bergstein's companies in the film industry, Capitol Films, ThinkFilm, R2D2, CT-1 and Capco were forced into Chapter 11 bankruptcy by a group of creditors led by the Aramid Entertainment film investment fund seeking payment for outstanding debts of $16 million.[1] This led to a Hollywood legal battle involving Bergstein, his financial partner, Ronald Tudor, the creditors and various lawyers and companies in the industry.[2][3][4][5][6] Films distributed [edit] Title Release date Time Out March 29, 2002 World Traveler April 19, 2002 The Mystic Masseur May 3, 2002 The Dangerous Lives of Altar Boys June 14, 2002 The Last Kiss August 16, 2002 Love in the Time of Money November 1, 2002 Gerry February 14, 2003 Spellbound April 30, 2003 Overnight June 12, 2003 The Heart of Me June 26, 2003 Julius Caesar June 29, 2003 Teknolust August 22, 2003 The Gospel of John September 26, 2003 The Event October 3, 2003 Bus 174 October 8, 2003 Love, Sex and Eating the Bones March 5, 2004 Wilbur Wants to Kill Himself March 12, 2004 The Agronomist April 23, 2004 Still, We Believe: The Boston Red Sox Movie May 7, 2004 The Story of the Weeping Camel June 4, 2004 Festival Express July 23, 2004 Bright Young Things August 20, 2004 Going Upriver: The Long War of John Kerry October 1, 2004 Primer October 8, 2004 Born into Brothels December 8, 2004 The Assassination of Richard Nixon December 29, 2004 Mondovino March 23, 2005 Dallas 362 April 10, 2005 Tell Them Who You Are May 13, 2005 Genesis May 27, 2005 Kontroll 5x2 June 10, 2005 The Last Mogul: The Life and Times of Lew Wasserman June 24, 2005 Murderball July 22, 2005 The Aristocrats August 12, 2005 The Untold Story of Emmett Louis Till August 17, 2005 Where the Truth Lies October 2, 2005 Three of Hearts: A Postmodern Family October 19, 2005 Protocols of Zion October 21, 2005 I Love Your Work November 4, 2005 Lie with Me November 11, 2005 The Boys of Baraka November 30, 2005 Fateless January 6, 2006 The Zodiac March 17, 2006 The Big Question When Do We Eat? April 7, 2006 95 Miles to Go Down in the Valley May 5, 2006 The King Loverboy June 16, 2006 Strangers with Candy June 28, 2006 I Like Killing Flies July 28, 2006 10th & Wolf August 18, 2006 Looking for Kitty September 1, 2006 Half Nelson September 22, 2006 Keeping Mum October 6, 2006 Shortbus October 20, 2006 Tideland October 27, 2006 Fuck November 10, 2006 Candy November 17, 2006 10 Items or Less December 1, 2006 Off the Black December 8, 2006 Funny Money January 26, 2007 Poor Boy's Game February 11, 2007 Glastonbury February 23, 2007 Gangsta Rap: The Glockumentary March 2, 2007 The Killing Floor March 14, 2007 Life Free or Die March 30, 2007 The TV Set April 6, 2007 Zoo April 25, 2007 Avenue Montaigne April 27, 2007 The Dog Problem The Wendell Baker Story May 18, 2007 The Trails of Darryl Hunt June 15, 2007 The Ten August 3, 2007 The Hottest State August 24, 2007 Self Medicated August 31, 2007 In the Shadow of the Moon September 7, 2007 Lake of Fir' October 3, 2007 Before the Devil Knows You're Dead October 26, 2007 War/Dance November 9, 2007 The Walker December 7, 2007 Nanking December 12, 2007 Taxi to the Dark Side January 18, 2008 The Air I Breathe January 25, 2008 Alpha Male March 18, 2008 My Brother Is an Only Child March 28, 2008 Then She Found Me April 25, 2008 The Tracey Fragments May 9, 2008 Noise Stuck May 30, 2008 Encounters at the End of the World June 11, 2008 Roman Polanski: Wanted and Desired July 11, 2008 Young People Fucking August 29, 2008 Good December 31, 2008 Incendiary February 6, 2009 Phoebe in Wonderland March 6, 2009 Five Dollars a Day April 24, 2009
4383	dbpedia	2	96	https://time.com/archive/6906653/indie-film-shakeout-there-will-be-blood/	en	Indie-Film Shakeout: There Will Be Blood	https://api.time.com/wp-…200&h=628&crop=1	https://api.time.com/wp-…200&h=628&crop=1	[]	[]	[]	[ "" ]	null	[ "Erin Davies" ]	2009-11-07T05:00:00+00:00	Update: An earlier version of this story was inadequately sourced and Universal was not given an opportunity to respond to speculation. In addition, Focus Features'...	en	/favicon.ico	TIME	https://time.com/archive/6906653/indie-film-shakeout-there-will-be-blood/	Update: An earlier version of this story was inadequately sourced and Universal was not given an opportunity to respond to speculation. In addition, Focus Features’ new film slate for 2010 and its global distribution capabilities are competitive strengths that should have been noted. We sincerely regret the errors. The economic recession may be ending but the independent film industry’s shakeout continues to roll, as we were recently reminded by Disney’s October decision to gut its Miramax division, cutting staff by more than 70%. It’s just the latest move in what has already been a bloodbath. Over the past 24 months the indie film industry — responsible for recent Academy Award winners like Slumdog Millionaire, There Will Be Blood, and Juno — has lost dozens of key players on both the front and back end of the production process. (See the top 10 Sundance hits.) Mark Gill, who served as president of Warner Independent Pictures and Miramax/LA and is now CEO of the indie-film production and financing company the Film Department, estimates that of the 38 indie-film financing firms — the so-called front end — that existed in 2007, only 11 remain. And they are mostly sitting on their hands. While Wall Street investment in independent movies totaled more than $2 billion from 2005 to 2007, according to Deutsche Bank, it has plummeted to practically nothing since then. (See TIME’s audio slide show “85 Years of Warner Bros. Movies.”) It’s just as rough on the back end. Small distributors like ThinkFilm, which released the popular documentaries The Aristocrats, Born into Brothels and Murderball, are struggling, while financially stronger studios — the Hollywood heavies — are scaling back. Just two years ago, each of the six major studios had at least one specialty film division that bought indie films at events like the Toronto International (TIFF) and Sundance festivals, arranged for them to be shown at movie theaters and marketed them to the public. Today only Twentieth Century Fox, Sony and Universal still have specialty divisions — Disney does, too, but in name only. Paramount closed Paramount Vantage, Time Warner shut down Warner Independent as well as Picturehouse and absorbed New Line into Warner Brothers, Disney has radically reduced Miramax, and Universal sold Rogue. (See films from the Toronto film festival.) How important were those specialty arms? In 2007, they accounted for more than 30% of indie box-office revenues. The big studios’ specialty divisions were also key players in film-festival bidding wars, often paying between $2 million and $10 million per film. This year the highest price paid for a film at the Toronto festival was $1 million by the Weinstein Co. for Tom Ford‘s A Single Man. “Indie Bloodbath” was how influential movie-industry blogger Anne Thompson described the dearth of high-priced sales at the festival. (See how to plan for retirement at any age.) While Toronto festival co-director Cameron Bailey is optimistic that by year’s end money spent to acquire 2009 TIFF films will be comparable to that of prior years, others say he’s dreaming. “Usually there would be one film that came close to a double-digit million-dollar sale, if not hitting that,” says Ted Hope, a 20-year veteran indie-film producer whose credits include 21 Grams and The Ice Storm. “Then you would have four or five films in that $4-to-$6 million range and four to seven films in that $1-to-$3 million range. Now we likely have just three or fewer films in the $1-to-$2 million dollar range.” (See 10 lessons from the 2009 summer box office.) Lower sale prices aren’t just a bummer for indie filmmakers; the prices also undercut the economics of American filmmaking, denying investors the sale price needed just to break even. Hope says some sales do happen for less money but they are not true business deals. “The international films can sell for low six figures to what buyers remain here precisely because they are subsidized by their local governments.” So is what’s happening just a recession rut? Partly, yes, but the business is also changing in fundamental ways. Just look at the way indie filmmakers raise money today. In the past, they would “presell” their movie to foreign distributors, using not much more than a script and a cast list. That meant certain funding for the filmmaker no matter how good or bad the film turned out to be. The filmmaker could then go to a private investor who, knowing that the movie was already presold to foreign territories, would view it as less risky and invest. With money from both foreign rights and private investors, the filmmaker could then secure a bank loan for the remaining funds. (See the top 10 Cannes film-festival moments.) That funding model is now dead. One reason is the foreign presell market has dried up — foreign governments now prefer to focus on their domestic film industries. Another reason is that U.S. films are often priced too high for investors to make money on, a problem that has intensified with dropping DVD sales around the world. Without being able to presell foreign territories, everything falls apart. “Imploded is the word I would use,” says Roger Smith, senior motion-picture analyst at Global Media Intelligence. Nor is there any encouraging news from theaters. From 2001 to 2005 independent film made up around 25% of the total domestic-box-office gross. That percentage has dropped to 18% for year-to-date 2009. So how will the indie-film shakeout ultimately play out? Given falling revenue, poor economics and a dearth of new indie projects, financial investors will likely limit commitments to commercially viable films — those offering strong potential for ancillary sales in video games and merchandise. That means more projects directed at the end market for those products — teens. But for hard-core indie investors, those who love taking risks on creative projects and look to hedge their bets by investing across many films, that game is over for now. And indie fans will soon feel it. See the 100 best movies of all time.
4383	dbpedia	3	42	https://www.thefilmfestivaldoctor.com/introduction-to-the-queer-2-queer-film-festival-interview-with-festival-director-colin-miller/	en	Introduction to The Queer 2 Queer Film Festival Interview with Festival Director Colin Miller	https://www.thefilmfesti…ed-ffd-32x32.jpg	https://www.thefilmfesti…ed-ffd-32x32.jpg	[ "https://www.facebook.com/tr?id=578314276164843&ev=PageView&noscript=1", "https://www.thefilmfestivaldoctor.com/wp-content/uploads/2018/12/logo500x160v4.jpg", "https://www.thefilmfestivaldoctor.com/wp-content/uploads/2023/07/q2qlogo-e1647477125826.jpg", "https://www.thefilmfestivaldoctor.com/wp-content/uploads/2020/04/2020-NEW-HEADSHOT-2-crop-150x150.jpg", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/thumb-placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/thumb-placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/plugins/instagram-feed/img/placeholder.png", "https://www.thefilmfestivaldoctor.com/wp-content/uploads/2024/04/HomepageBanner.jpg", "https://www.thefilmfestivaldoctor.com/wp-content/uploads/2023/08/2e3cfd01b13ed4d324479eb1995d2f079fdda6e56e2e7d165ba7011db99c9769._UR19201080_2-1200x420.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://www.thefilmfesti…ed-ffd-32x32.jpg		https://www.thefilmfestivaldoctor.com/introduction-to-the-queer-2-queer-film-festival-interview-with-festival-director-colin-miller/	Colin Hi, welcome to The Film Festival Doctor’s blog 🙂 Could you kindly tell my reader a little bit about yourself and your background? Absolutely! Well I went to Collin College for theatre and then transferred to UNT for English. I have always lived in movies as much as I’ve lived in the real world. In some ways the things I have to express as an artist come more from films I’ve digested than things I’ve actually experienced. I think film lovers find their dreams onscreen and then start to dream of films when they fall asleep. Many of my friends are film lovers too, and my absolute first choice for a good time out or in is catching a showtime. You are one of the directors of the Dallas based Queer 2 Queer Film Festival – can you tell us more about the festival and what your vision is? “Queer 2 Queer” is a celebration of identity, subculture, and writing without restriction. While we have all of our films available for online viewing during the run of each season, we always have an in-person showing at one of our DFW locations. These locations vary, but our last event took place at the Margot Jones Theatre in Fair Park, and who knows where you’ll see us hosted next. We feature narrative and documentaries with a high emphasis on short works. We work hard to choreograph a variety of expressions that focus on uniqueness, and I’m proud to say that we’ve showcased LGBTQ and ally voices from across the globe. There’s no rigid construct that makes something Q2Q or NOT Q2Q, and our team prides ourselves on trusting the intuition of our selection panel. Knowing what films to select is kind of like knowing you’re queer. There’s no list of check marks. It’s a feeling. Why did you want to create the Queer 2 Queer Film Festival? Growing up as a closeted queer man in Texas meant that I often had to project onto movie characters who were not conceived as or by LGBTQ people. That’s a fine thing, because it is a great gift to find connections in someone different from yourself. While I certainly don’t need (or want) every movie to speak with the intention of reaching a queer audience or to center around queer stories, it’s a shame we see them so little. Any marginalized individual who regularly attends the theater or streams quality content has felt this. Queerness is very common in our society, but many stories about it or by the people who identify as such have been erased. The truth is though, while there have always been and will always be tons of queer people everywhere, the market for stories by and for them is small. I would say it’s small in general, but it seems especially so in Texas, and even more especially so in DFW. I love my city, but it was advantageous for me to create a film festival that didn’t exist yet, and that’s how Q2Q first grew. We don’t yet live in a world where subculture orientations are regularly accepted, but the “Queer 2 Queer Film Festival” is one place where creators of any orientation know their vision is welcome, regardless of its divergence from heteronormative themes. What have been your highlights and favourite moments of the festival so far? One trans filmmaker who submitted the short “Capital Barbie” came into Texas from New Mexico to watch it as a part of our last Margot Jones showcasing, and that effort really stuck with me. I’d never generated anything that made a stranger proud enough to book a plane ticket, and it made me think that it’s possible our little festival is more important than I even realize. At that same festival I was told by local trans filmmaker, Chaselyn Wade, that seeing a room full of people appreciating the under-appreciated reinvigorated her work in film. She’d lost her way, and Q2Q helped her get excited about making movies again. That was everything to hear, especially because Chaselyn is just a complete and utter badass. There’s lots to list, but my bestie from UNT is trans, and seeing him beside me on the Q2Q discussion panel reminded me that sometimes we can do a really good job. Thank you for screening and awarding one of my clients short films ‘DASH’ a prize – tell me more about what you liked most about that film and why it was a good fit for your festival. “Dash” is somewhere we’ve all been. So much of queer life, especially when you’re closeted, is about the people walking around you that pass through. Sometimes they’re like ghosts, moving across some different plane like you don’t exist beside one another. Sometimes the glance they gave your way or the glisten of their exposed stomach lingers like a specter. No matter the external or internal force, not being in your own body can make you feel like a passerby in your own life. You go through the motions so you won’t be depressed about not living as you know you are meant to live. This is the process of numbing, and “Dash” is all about the shake up. It’s a short, experimental piece, but you feel what is so special about leaning into the truth of your expression. Truth of expression is just what the filmmaker gave us, and it was a pleasure to celebrate that. That’s what we want to celebrate every time we produce an event. What types of LGBTQ films are you looking for to programme? We’re open to all films, and if anyone can surprise us, I guess that’s the greatest desire. We want to watch films that don’t feel derivative, disdainful of progress, or divisive. Bring us something that feels like it exists for itself or because someone was passionate enough to bring it to life. We’re in the unique position of not having any difficult guardians to satiate or placate. Therefore, the more outside the box the film, the better. The more honest and less over-produced the message, the fiercer. Give us your grit and your girly pop. We are the everything AND the in between, so be there with us if you’re brave enough. What are your plans for the next edition of the Festival and how can we support you? At present, we’re looking at funding a new showcase for the summer of 2024, so we might not be doing anything grand scale until then. However, you will be seeing us in online events leading up to that as we’ve recently connected with Filmocracy. We’re also in the process of building up our podcast, YouTube, and TikTok. Not to mention, we’re shopping the festival for sponsorships, and that goal will be a big indicator of our next big step forward. Our primary focus is to grow what we already have, but in order to do this and hire more staff, we need those crucial months of preparation. Q2Q is queer and here to stay. It’s tricky to generate demand for something so niche, but our loyal following is all we need. The people who submit to Q2Q deserve a place for their work to be seen without judgement or upheaval, and we’re gonna give it to them for as long as we can.
4383	dbpedia	2	4	https://tfip.org/	en	Film Impact Production	https://tfip.org/wp-cont…05/opengraph.jpg	https://tfip.org/wp-cont…05/opengraph.jpg	[ "https://tfip.org/wp-content/uploads/2023/04/LOGO.png", "https://tfip.org/wp-content/uploads/2023/04/LOGO.png", "https://tfip.org/wp-content/uploads/2023/04/LOGO.png", "https://tfip.org/wp-content/uploads/2023/04/LOGO.png", "https://tfip.org/wp-content/uploads/2023/04/home-img.jpg", "https://pbs.twimg.com/profile_images/1673701918776999940/RY5J5PwX_normal.jpg", "https://pbs.twimg.com/profile_images/1673701918776999940/RY5J5PwX_normal.jpg", "https://pbs.twimg.com/profile_images/1673701918776999940/RY5J5PwX_normal.jpg", "https://tfip.org/wp-content/plugins/social-wall/img/placeholder.png", "https://pbs.twimg.com/profile_images/1673701918776999940/RY5J5PwX_normal.jpg", "https://tfip.org/wp-content/plugins/social-wall/img/placeholder.png", "https://pbs.twimg.com/profile_images/1744376495248728064/wB8uLMPN_normal.jpg", "https://tfip.org/wp-content/plugins/social-wall/img/placeholder.png", "https://tfip.org/wp-content/uploads/2023/04/logo-unhr.png", "https://tfip.org/wp-content/uploads/2023/04/logo-ep.png", "https://tfip.org/wp-content/uploads/2023/04/logo-ce.png", "https://tfip.org/wp-content/uploads/2023/04/logo-oecd.png", "https://tfip.org/wp-content/uploads/2023/04/logo-impact.png", "https://tfip.org/wp-content/uploads/2023/04/berlinale2023call.webp", "https://tfip.org/wp-content/uploads/2023/04/logo-cccu.png", "https://tfip.org/wp-content/uploads/2023/04/logo-oxford.png", "https://tfip.org/wp-content/uploads/2023/05/venice-film-festival.png", "https://tfip.org/wp-content/uploads/2023/04/logo-esodoc.png", "https://tfip.org/wp-content/uploads/2023/04/logo-wemw.png", "https://tfip.org/wp-content/uploads/2023/04/logo-magentaDOK.png", "https://tfip.org/wp-content/uploads/2023/04/logo-fipadoc.png", "https://tfip.org/wp-content/uploads/2023/05/sarajevo-film-festival.png", "https://tfip.org/wp-content/uploads/2023/04/logo-idfa.png", "https://tfip.org/wp-content/uploads/2023/04/logo-cphdox.png", "https://tfip.org/wp-content/uploads/2023/06/Logo-white-1.png#2856", "https://tfip.org/wp-content/uploads/2023/04/footer-fb.png", "https://tfip.org/wp-content/uploads/2023/04/footer-twitter.png", "https://tfip.org/wp-content/uploads/2023/04/footer-linkedin.png", "https://tfip.org/wp-content/uploads/2023/04/footer-insta.png", "https://tfip.org/wp-content/uploads/2023/04/LOGO_DARK.png", "https://tfip.org/wp-content/uploads/2023/04/footer-fb.png", "https://tfip.org/wp-content/uploads/2023/04/footer-twitter.png", "https://tfip.org/wp-content/uploads/2023/04/footer-linkedin.png", "https://tfip.org/wp-content/uploads/2023/04/footer-insta.png", "https://tfip.org/wp-content/themes/betheme/images/cookies.png" ]	[]	[]	[ "" ]	null	[ "jicao" ]	2023-04-04T11:41:11		en	https://tfip.org/wp-cont…lm-Favicon-1.png		https://tfip.org/	Join our mailing list and stay ahead of the curve! Be the first to receive exciting updates, policy insights, and film reviews delivered monthly straight to your inbox. This is also where we'll announce information about what festivals we're attending and will provide exclusive invitations to screening events across the globe. We can't wait to welcome you to the Think-Film IMPACT community.
4383	dbpedia	3	15	https://www.hollywoodreporter.com/business/business-news/how-thinkfilm-goosed-goslings-oscar-130392/	en	How ThinkFilm goosed Gosling’s Oscar drive	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2023/11/GettyImages-1218134197-H-2023.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/GettyImages-892307166.jpg?crop=0px%2C595px%2C5744px%2C3214px&resize=260%2C150", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/TCDERRR_EC006-H-2024.pg_.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/04/1853895_25926bc-copy.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Shauna-Spenley-Headshot-Announcement-Publicity-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2023/06/2022_06-stocksupturn-01.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Anne Thompson", "The Associated Press" ]	2007-02-16T04:00:00+00:00	As a small indie distributor, ThinkFilm and its distribution and marketing president Mark Urman faced a big challenge to get an&#160; Oscar nomination for&#160; "Half Nelson" star Ryan Gosling for his turn as a drug-addicted high school teacher, ANNE&#160; THOMPSON writes.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/business/business-news/how-thinkfilm-goosed-goslings-oscar-130392/	It takes guts to chase after an Oscar. It also takes serious money, luck, and insider experience. Fail to land a nomination, and that cash doesn’t magically come back. The stakes are precariously high, especially for a small indie distributor. ThinkFilm distribution and marketing president Mark Urman knew that he was in for a wild ride when he made the decision to pursue a best actor Oscar nomination for “Half Nelson” star Ryan Gosling. Here’s how he landed the awards season’s most surprising nomination. The Oscar question was first raised, as it often is these days, during the seductive tap-dance surrounding ThinkFilm’s acquisition of “Half Nelson” at the Sundance Film Festival in January 2006. “Half Nelson” concerns the touching relationship between a gifted inner-city high school teacher (Gosling) and a student (Shareeka Epps) who discovers the teacher’s crack addiction. While it played well at Sundance, and the first reviews were strong, Urman told the rookie filmmakers, writer-director Ryan Fleck and co-writer and producer Anna Boden, that any talk of Oscar was “hideously premature.” After all, the movie cost less than $1 million. “The likelihood of a low-budget American independent film making it to that pantheon was slim. I didn’t rule it out. But if it didn’t penetrate to a higher consciousness of the public, then it wasn’t worth it to piss in the wind,” Urman recalls. Urman, a veteran Oscar marketer who’d played a role in winning campaigns for Lionsgate’s “Gods and Monsters” and “Affliction,” knew that acting nominations for breakthrough newcomer performances are doable. “We all generalize that the Academy is one giant brain,” he says. “But there are trends. There is a steady affection for the discovery, like Julie Christie in ‘Darling.’ The Academy has always enjoyed making an investment in a career.” In 2006, Sony Pictures Classics nabbed Amy Adams a supporting actress nomination for the micro-indie “Junebug.” But Adams won a special jury prize for her performance from the Sundance dramatic jury. It was a bitter blow for Urman when “Half Nelson” won nothing on closing night in Park City. In order to gain the necessary traction, the distributor opened “Half Nelson” in August — well before the customary fall Oscar launch platform at the Toronto International Film Festival. “The only way to do it was not to go out in the fall,” Urman says. “We had to go out ahead of the pack. And by August, people were fed up with summer fun.” The critics gave Urman reason for hope, including Oscar mentions in USA Today and Entertainment Weekly. One critic threw down the gauntlet, as Urman recalls, hoping that Gosling would get the support he deserved. “That was a terrifying moment,” Urman says. “It was a personal challenge. I would be the person who lost Ryan Gosling his Oscar nomination.” At the start of the fall season, Urman checked out the competition for best actor. Who was Gosling up against? The actor’s lucky break: The field was weaker than usual. In a normal year, there are twice as many strong best actor candidates as best actress possibilities, often as many as 15. For 2006, Urman counted just nine, including Gosling, aiming for five slots. And as the possible contenders were shot down, that number got even smaller. Falling by the wayside were George Clooney in “The Good German” and Derek Luke in “Catch a Fire,” examples of how “you can’t build a campaign on visible failure and a rapid exit,” Urman says. Even though “Half Nelson” was limping along at the boxoffice in only three runs, “you can build a campaign on a promise, but not a failed promise.” Another lucky stroke for ThinkFilm came in October, when the company received a healthy infusion of cash when it sold to David Bergstein and Ron Tudor’s film financing and production company Capco Group for about $25 million. Having a cushion of extra money on hand made it a lot easier for Urman, who works closely with ThinkFilm CEO Jeff Sackman, to reach for the Oscar ring. Suddenly, ThinkFilm had a different set of ambitions as it set about attracting filmmakers. “We needed to prove to the industry that we’re real,” Urman says. “A lot of actors make indie movies for prestige, not just money, to prove their chops. What better way to communicate our efficacy as a desirable home for these films than by landing an Oscar nomination for a low-budget movie about a crack addict?” So he did what any smart company would do in this situation. He turned for counsel to 42West’s Cynthia Swartz, who earned her chops at Harvey Weinstein’s knee and helped pushed “Crash” to last year’s surprise best picture win. ThinkFilm followed a similar strategy. It sent out DVDs early, in October, to every branch in the Academy, 5,800 strong. Another 2,000 went to the SAG nominating committee. About 200 went to critics’ groups, and 90 went to the Hollywood Foreign Press Assn. Sure enough, the movie wound up on many critics’ 10-best lists, and while “The Last King of Scotland’s” Forest Whitaker kept winning best actor prizes, Gosling was often a first runner-up. ThinkFilm also bought a lot of ads on the Internet, especially on blogs like Oscarwatch.com, which were asking whether ThinkFilm would cough up the dough for a real Gosling Oscar run. “Half Nelson” hummed along on the crest of its year-end plaudits. At the boxoffice, it grossed more than $2 million, playing best in major cities, but never widening to more than 85 screens. Then came Urman’s worst fear. No Golden Globe nomination for Gosling, even with slots divided between the Globes’ comedy and drama best actor categories. “I took antacids for days,” Urman says. It didn’t help that while other stars were campaigning vigorously, Gosling refused to do television interviews. Urman sent Gosling to the Gotham Awards, where the film was named best feature; to the National Board of Review, where the actor was hailed for his breakthrough performance; to the New York Film Critics Circle Awards, where he presented the best first film award to Fleck; and to the AFI Awards lunch in Los Angeles. Gosling also agreed to do a SAG Q&A. And his eventual SAG nomination proved crucial because “it influenced the Oscars,” Urman says. A return engagement in Los Angeles for “Half Nelson” gave the distributor an excuse to take out ads in the L.A. Times. The trade ad campaign — “never ostentatious,” Urman says — stressed three images from the film, showing Gosling as beautiful, sad and isolated. “The campaign was not about a crack addict,” Urman says, “or a failure of liberal ideals. It was all about an explosive brilliant young talent.” On Jan. 23, Oscar nominations morning, Gosling was on the best actor list. On the down side, ThinkFilm did not land nominations for Epps or the “Half Nelson” screenplay. Still, Urman was on cloud nine. “It was surreal,” he says. “It was what we’d been working toward for so long. I couldn’t allow myself to feel complacent. I became superstitious. When it happened, I realized what would have happened if it hadn’t happened. All that money and my ass on the line.” One month later, just as interest is peaking in the Oscar race, the movie is coming out on DVD. That’s real money in the bank. As for Gosling: He’s now a member of the Oscar club. And on Feb. 24, chances are real good he’ll win a Film Independent Spirit Award. “That’s home,” Urman says. “That will be a good a day for us.”
4383	dbpedia	2	59	https://filmmakermagazine.com/3610-urman-leaves-thinkfilm-joins-senator/	en	URMAN LEAVES THINKFILM, JOINS SENATOR	https://filmmakermagazin…00dpi-scaled.jpg	https://filmmakermagazin…00dpi-scaled.jpg	[ "https://filmmakermagazine.com/wp-content/themes/filmmaker/images/back.png", "https://filmmakermagazine.com/wp-content/themes/filmmaker/images/back.png", "https://filmmakermagazine.com/wp-content/uploads/2024/08/CE_2024-RD_Filmmaker-Magazine-2-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2024/08/CE_2024-RD_Filmmaker-Magazine-2-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2024/08/Sponsored-Article-Image-300x172.png", "https://filmmakermagazine.com/wp-content/uploads/2024/08/Sponsored-Article-Image-300x172.png", "https://filmmakermagazine.com/wp-content/uploads/2021/07/OCD_SpaceRR01-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2021/07/OCD_SpaceRR01-300x172.jpg", "https://filmmakermagazine.com/wp-content/uploads/2014/04/robespierre-online-crop-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2014/04/robespierre-online-crop-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2014/04/robespierre-online-crop-220x120.jpg", "https://filmmakermagazine.com/wp-content/uploads/2012/10/IMG_7512-2-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2012/10/IMG_7512-2-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2012/10/IMG_7512-2-220x120.jpg", "https://filmmakermagazine.com/wp-content/uploads/2022/03/Soft-Quiet-220x120.webp 220w, https://filmmakermagazine.com/wp-content/uploads/2022/03/Soft-Quiet-380x206.webp 380w", "https://filmmakermagazine.com/wp-content/uploads/2022/03/Soft-Quiet-220x120.webp", "https://filmmakermagazine.com/wp-content/uploads/2013/04/Amy_Seimetz-220x120.jpg 220w, https://filmmakermagazine.com/wp-content/uploads/2013/04/Amy_Seimetz-380x206.jpg 380w", "https://filmmakermagazine.com/wp-content/uploads/2013/04/Amy_Seimetz-220x120.jpg", "https://filmmakermagazine.com/wp-content/plugins/cookie-law-info/legacy/public/images/logo-cookieyes.svg", "https://filmmakermagazine.com/wp-content/plugins/cookie-law-info/legacy/public/images/logo-cookieyes.svg" ]	[]	[]	[ "" ]	null	[ "Scott Macaulay", "Sarah Salovaara", "Amos Posner", "Filmmaker Staff" ]	2008-08-29T16:44:00-04:00	As we enter a lazy Labor Day news cycle, Anne Thompson picks up on her Variety blog the press release that THINKfilm CEO Mark Urman is leaving the troubled ...	en	https://filmmakermagazine.com/wp-content/themes/filmmaker/images/favicon.ico	Filmmaker Magazine \| Publication with a focus on independent film, offering articles, links, and resources.	https://filmmakermagazine.com/3610-urman-leaves-thinkfilm-joins-senator/	Effective October 1, veteran film industry executive Mark Urman will join Marco Weber’s Senator Entertainment US as president of his newly formed distribution company. The teaming with Urman follows Weber’s recent acquisition of all shares in U.S.-based Senator Entertainment Inc. in order to focus solely on the production of English language films and to establish this U.S. based distribution entity. The company will be fully bi-coastal with main offices in both Los Angeles and New York. Urman co-founded THINKFilm in 2001, heading the company’s theatrical division and serving, most recently, as president. Prior to that, he was co-president of Lionsgate Releasing. Urman will work side-by-side with Weber in establishing all windows of distribution for the company’s slate, allowing Weber to concentrate on the original productions the company is making with a broad spectrum of A-list actors and filmmakers. “I believe this is the perfect time to launch a company of this shape and size,” says Urman, “and I’m thrilled to be joining Marco in this exciting new endeavor. We start with an exceptional line-up that combines commercial crossover films with classically niche-oriented ones, and we’ll have the ability to alternate wide releases– involving hundreds of prints–with prestige titles that expand from exclusive platforms. By building a company that can be big and bold when it wants to be, but streamlined and strategic when it needs to be, we plan on being the best possible combination of a studio specialty division and a true independent.” Weber commented, “Mark’s expertise in the independent film world is without rival. He has proven consistently that he understands how to design specific campaigns for movies that are high quality, yet challenging to release successfully. It is our good fortune to have secured him as a partner to work with us as the company prepares to release its first slate.”
4383	dbpedia	1	36	https://www.spiegel.de/international/bordertown-premieres-at-berlinale-a-filmmaker-s-crusade-to-see-justice-done-a-466465.html	en	'Bordertown' Premieres at Berlinale: A Filmmaker's Crusade to see Justice Done	https://cdn.prod.www.spi…x49.54_fpy45.jpg	https://cdn.prod.www.spi…x49.54_fpy45.jpg	[ "https://cdn.prod.www.spiegel.de/images/7f8844cf-0001-0005-0000-000000795119_w335_r1_fpx45_fpy45.jpg", "https://cdn.prod.www.spiegel.de/images/7f8844cf-0001-0005-0000-000000795119_w335_r1_fpx45_fpy45.jpg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_kreuzwortraetsel_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_solitaer_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_sudoku_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_mahjong_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_bubble-shooter_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_jackpot_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_snake_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_exchange_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_2048_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_doppel_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_rushtower_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_sudoken_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_street_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_wortblitz_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_fibonacci_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_gumblast_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_wimmelbild_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_skiracer_88.svg", "https://cdn.prod.www.spiegel.de/public/spon/images/games-icons/pic_trivial-pursuit_88.svg", "https://cdn-assets-widget-production.imgix.net/uploads/syndication/66628d934af72.jpeg?fit=crop&w=472&h=88&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/provider/618bde573a696.png?fit=crop&w=78&h=39&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/syndication/66a35f9eb4064.jpeg?fit=crop&w=472&h=88&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/provider/63cfbf787ecf7.png?fit=crop&w=78&h=39&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/syndication/66aa42d589231.jpeg?fit=crop&w=472&h=88&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/provider/618bdfdd255e0.png?fit=crop&w=78&h=39&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/syndication/66aa4325451c6.jpeg?fit=crop&w=472&h=88&lossless=true&q=100", "https://cdn-assets-widget-production.imgix.net/uploads/provider/61160f812cf29.png?fit=crop&w=78&h=39&lossless=true&q=100", "https://cdn.magazin.spiegel.de/EpubDelivery/image/title/SP/-1/-1/136", "https://cdn.magazin.spiegel.de/EpubDelivery/image/title/SPGE/-1/-1/136", "https://cdn.prod.www.spiegel.de/images/ea6fe4c3-0d4a-4cb1-a7c6-0e1fe7082c47_w136_r0.75_fpx50_fpy54.08.jpg", "https://cdn.prod.www.spiegel.de/images/558f5b6b-7ddf-4603-8b6f-528eaed8780d_w136_r0.75_fpx50_fpy61.52.jpg", "https://cdn.magazin.spiegel.de/EpubDelivery/image/title/SPWI/-1/-1/136", "https://cdn.prod.www.spiegel.de/images/d2d18104-3bc1-48e7-b24b-bee844dfcdbf_w136_r0.75_fpx50_fpy46.52.jpg", "https://cdn.magazin.spiegel.de/EpubDelivery/image/title/DEIN/-1/-1/136", "https://cdn.magazin.spiegel.de/EpubDelivery/image/title/SPSM/-1/-1/136", "https://cdn.prod.www.spiegel.de/images/4398ae8d-251d-41fa-806e-3005698e81bf_w136_r0.75_fpx50_fpy57.55.jpg", "https://www.spiegel.de/international/$store.WebAudio.clip ? $store.WebAudio.clip.posterUrl : ''", "https://www.spiegel.de/international/$store.WebAudio.clip ? $store.WebAudio.clip.posterUrl : ''", "https://www.spiegel.de/international/$store.WebAudio.clip ? $store.WebAudio.clip.posterUrl : ''", "https://www.spiegel.de/international/imageSrc", "https://cdn.prod.www.spiegel.de/public/spon/images/modal/feedback_720.png", "https://cdn.prod.www.spiegel.de/public/spon/images/modal/user-capping_720.png" ]	[]	[]	[ "" ]	null	[ "Daniela Gerson", "DER SPIEGEL" ]	2007-02-15T09:23:22+01:00	Gregory Nava's "Bordertown" stars Jennifer Lopez as a reporter investigating a series of murders in the Mexican city of Ciudad Juarez. The indie movie premieres Thursday at the Berlin International Film Festival, but will it raise awareness of the ongoing murders -- or even get a wider release?	en	https://cdn.prod.www.spiegel.de/public/spon/images/icons/favicon.ico		https://www.spiegel.de/international/bordertown-premieres-at-berlinale-a-filmmaker-s-crusade-to-see-justice-done-a-466465.html	Nava hopes to rectify that with his new film "Bordertown", which tells the story of the Cuidad Juarez murders: an epidemic of hundreds of poor, pretty women systematically raped, mutilated, and strangled to death in the Mexican border town since 1993. When Nava heard about the murders, he turned to one of his favorite leading ladies: Jennifer Lopez. "I found this situation shocking and horrifying and I wanted to do something," Nava says. His vision was to tell the devastating stories through "an exciting thriller-drama." It didn't take much to get Lopez on board. The two have a long history of working together. In 1995, Nava, who has made a career documenting the intersection of cultures on both sides of the US-Mexico border, first cast an unknown Lopez in "Mi Familia." Two years later he made her a star in "Selena." That was in 1998. Nearly a decade later, the fruit of their collaboration, "Bordertown," is premiering Thursday at the Berlin International Film Festival (Berlinale) as part of the official competition. The film boasts one of the festival's most star-studded casts, matching Antonio Banderas and Martin Sheen along with Lopez, who is also making her first outing as a producer. The thriller casts Lopez as an eager (and sexy) Chicago journalist longing to go and report from Iraq. Instead her editor assigns her to investigate the murder of women just south of the Mexican border. As she sets out to unravel the mystery, she quickly finds her life at risk as she races through crowded streets, interviewing victims' families and authorities -- while still finding time to tousle with ex-lover Banderas. Weaving stories Nava says his inspiration for "Bordertown" draws from the work of Guatemalan writer Miguel Angel Asturias, the magic realism of Gabriel Garcia Marquez, and the social dramas of Charles Dickens. It is also a return to the tradition of Nava's breakthrough movie, "El Norte," which was nominated in 1984 for an Academy Award for best original screenplay. In that film, most memorable for the scene of illegal immigrants crawling through a rat-infested sewer, he created a fictional story from scores of interviews. In "Bordertown" he took the same approach, trying to weave together the stories told by family members of the murdered young women into his "thriller-drama." But while "Bordertown" will open in German theaters later this month, and other European theaters soon thereafter, it still does not have a US release date -- despite what Nava describes as widespread interest in the Latino community. It seems a long wait for a film whose mission, says Nava, is to take a "social injustice and compel people to do something about it." Especially so, since in Juarez the deaths continue and the murders remain solved. Nava describes, in almost crusading terms, an "eight-year journey" to get the film made. "Hollywood is just not interested in movies about social drama and social situations," he says. "They are more interested in making movies about super heroes -- escapist entertainment. And so we had to do this independently and it's going to be distributed independently." A horrifying tally When it comes to the actual details of the Juarez murders, Mexican authorities and human rights groups disagree on the source and the extent, but there is no question that in 1993 women began being raped, mutilated, and strangled in the desert surrounding the border town. Most of the victims have been around the age of 20, dark-skinned and worked in the maquiladoras, low-wage factories that boomed after the signing of the North American Free Trade Agreement. In all, authorities estimate more than 400 women have been killed in Juarez, where about 1.5 million people live in desperate conditions across the Rio Grande from El Paso, Texas. The targeted murders essentially ended in 2003, but the murder rate of women in the city continues to be very high. Theories to the source of the murders are abundant. Some have blamed the deaths on one serial killer; others drug traffickers, wealthy trophy killers, organ harvesters, or husbands and boyfriends. Reporters and human rights groups investigating the murders have accused a complex web of perpetrators, government indifference, and a larger culture where poor women are not valued. No one has been satisfactorily tried for the ten-year murder epidemic. A number of men have been given life sentences without credible evidence against them, while none of those found by independent researchers to be most directly implicated -- including policemen, justice officials, elected government officials at the state level -- have ever been indicted. Drawing attention to abuse "Bordertown" is just the latest in a series of artistic ventures -- including songs, documentaries, books and a TV series -- based on the murders. Last year another feature film, "Virgin of Juarez," starring Minnie Driver as a journalist digging into the murders, played an art-house run in the US. Rupert Knox, a researcher on Mexico for Amnesty International, says while a film such as "Bordertown," can draws attention to abuse "that we hope will enable real change," in the way that "Blood Diamonds" has to the issue of child soldiers, it is also important to recall that it's "a fictional representation of facts." Nonetheless, Amnesty International, which was consulted on the script, is not wasting the opportunity to use the star power in "Bordertown" to up Juarez's profile: Nobel Peace Prize winner Jose Ramos-Horta will present Lopez with the "Artists for Amnesty" award at the Berlinale on Wednesday. Even if it's a hit at the Berlinale, however, don't expect to see "Bordertown" in a US theater any time soon. A deal with a distributor is reportedly nearly complete, but as Nava points out, "It's going to be hard to get it out before summer and it's not a summer movie." He adds: "You don't want to release 'Bordertown' against 'Spiderman.'"
4383	dbpedia	2	63	https://www.crafttruck.com/blog/mega-qa-film-distribution-mark-urman/	en	Mega Q&A on Film Distribution with Mark Urman	https://www.crafttruck.c…ark-Urman-QA.jpg	https://www.crafttruck.c…ark-Urman-QA.jpg	[ "https://www.crafttruck.com/wp-content/uploads/2012/11/craft-truck-logo-texture.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/facebook_32.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/twitter_32.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/youtube_32.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/rss_32.png", "http://www.crafttruck.com/wp-content/uploads/2014/03/digital_cinema_title.jpg", "https://s.ytimg.com/yt/img/creators_corner/Subscribe_to_my_videos/YT_Subscribe_130x36_red.png", "https://www.youtube-nocookie.com/gen_204?feature=creators_cornier-//s.ytimg.com/yt/img/creators_corner/Subscribe_to_my_videos/YT_Subscribe_130x36_red.png", "http://www.crafttruck.com/wp-content/uploads/2013/03/Popular-Posts.jpg", "http://www.crafttruck.com/wp-content/uploads/2014/06/Business-of-Film-Top-10.jpg", "http://www.crafttruck.com/wp-content/uploads/2014/06/Top-10-Videos.jpg", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/facebook_32.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/twitter_32.png", "http://www.crafttruck.com/wp-content/themes/striking/images/social/komodomedia_32/youtube_32.png" ]	[]	[]	[ "" ]	null	[]	2014-03-05T10:01:53-04:00	In detail film distribution Q&A with Mark Urman, former co-President of Lionsgate Releasing and co-Founder of ThinkFilm.	en	https://www.crafttruck.com/wp-content/uploads/2013/01/favicon.ico	Craft Truck	https://www.crafttruck.com/blog/mega-qa-film-distribution-mark-urman/	Recently, on our Business of Film podcast we chatted with former co-President of Lionsgate Releasing and co-Founder of ThinkFILM, Mark Urman, who now runs indepedent film distribtion company, Paladin, in New York. We felt there was so much amazing information in our time with Mark, that we’d synthesize some of the more important points of the discussion here. We’d encourage you to check out the Business of Film podcast for more awesome chats. Enjoy. 1. How has the distribution landscape changed in the last decade? Well its become very decentralized. It used to be formulaic and rigid. Films were released by companies, big or small, they played in theatres for as long as they were in demand, which was normally over a year, then they were available through various forms of home entertainment. You saw movies and then you wouldn’t see them until a full year later on either paid TV or you go out and buy the videotape. Now there are an almost infinite and ever changing and increasing number of ways to see movies because of the digital revolution. Movies can be made very inexpensively and it no longer takes a large infrastructure or a large amount of people or money to make a movie. So there are more feature films being made at staggeringly low cost. What we have now is an enormous increase in the amount of product and an enormous increase in the way in which films are consumed. So instead of it being rigidly controlled by gate keepers its completely customized. People literally program their own entertainment. Films made 75 years ago are now available through digital download. So now every new film that opens isn’t only competing with other new films but its literally competing with the history of cinema. 2. How critical is publicity to get indie films recognized? The great misconception is that publicity is free. Technically, if attention is coming from the journalistic community then that is free, you don’t pay for that attention, but of course you have to spend a lot of money to hire a publicist to create materials. The fact is that publicity is important, it really is the best way to get information out about a film but the point is publicity like every other aspect of the business, has changed. The film critical community is eroding. Newspaper & magazines are either cutting back so that they have fewer writers on staff, many of whom are not trained in film culture, history, criticism or aesthetics. The information has migrated to the internet. Which is an enormous bonus because one can obtain this information rapidly and from a seemingly infinite number of sources but it is also a lot of noise one has to cut threw. In general the more things change the more they stay the same. An excellent film that gets a considerable amount of critical acclaim and that strikes the imagination of the journalistic community is probably going to have a better chance of penetrating and becoming part of the discourse, and have a better chance of becoming culturally central and enduring, than a bad or negligible film. The fact is there are a lot of bad and negligible films that do well because they are propelled by a lot of money, and there are a lot of very excellent films that do bad because they are either too specific or there’s not enough time in our rapidly moving culture for them to get traction and gain a following. One of the reasons I remain so committed to the notion of theatrical distribution as an important and enduring component of the life of a movie is that it is really the one element that allows most films to become visible, to get written about or reviewed because they show up in theatres. They sort of impact upon the information universe. If a film is just flunked down, it used to go straight to DVD or straight to video, but now they go straight to digital. They’re one of 4,5, 600 movies that people can see at any given point – not to mention the extraordinary amount of other content that people can see. There is so much going on and there’s so much wonderful content readily available at our finger tips that if their isn’t a really consorted publicity campaign then films are virtually invisible. It used to be you went to the movies on the weekend and went to work on Mondays and talked to people about the movie you saw, recommend it, and if you were convincing they would go see it. Its much more instantaneous now. Just by putting something up on your Facebook time line can let a thousand people know how you felt about a movie. 3. How do you feel about the movement towards self distribution? The Tugg and Gathr thing, which is really theatrical on demand – meaning that you make a film and are then responsible for marketing and promoting the film & creating an awareness or appetite for it – if you succeed in doing that and if enough individuals subscribe to attend that screening it tips over into reality and it takes place and everybody makes money. That model works for films that have to be in demand and have to be a movie for people to gather and get together, a minimum of 65 people, to organize as a group. So its only a very specific kind of movie this mechanism works for. There are people who are distributing films to download off of their websites. You can pay under 2,000 dollars and have your movie available for streaming off of Amazon just by converting to their digital format. But once again the burden is on you to create an awareness and appetite otherwise you’re one of tens of thousands of films available on Amazon, how would anybody find it? There are many portals that curate films and have developed a fan base and an audience. Some of them are subscription, you pay 100 dollars a year or $X amount a month and they put together a catalogue of films to which they have attained non-exclusive streaming rights, and it can be all classic films or all Japanese films, you name it. It’s a unique approach to film distribution so the consumption is amazing. Producers really need to know what they are doing because it’s as hard to get a film out into the public as it is to make them and it can even be harder, or take a lot longer, but if you’re in for a penny then you have to be in not for a pound but a tonne. Every once in a while people make a movie and they go to a film festival and somebody buys that movie for millions of dollars, and then use millions of their dollars to sell it to an audience and whether it be Little Miss Sunshine, Slum Dog Millionaire or 12 Years a Slave, it seems to work out very well for everybody. But, even one tier down – or two or three tiers down – if there isn’t a bidding war, if the cheque isn’t for millions of dollars, if the amount of money and effort this company is spending isn’t sufficient you might be worse off with a distributor. The fact is that one can do better financially if one holds on to the film and distributes it to the various mechanisms themselves then selling it all off to one rights holder. Even with Kickstart, its not money that falls from heaven. A successful Kickstarter campaign is a marketing undertaking. You have to create a mythology and folklore for your film, you have to develop friends, you have to offer premiums, its like a beauty pageant & you have to make your film the prettiest film on the block to get people to write cheques to see the best film walk the run way. The joke of it is that do-it-yourself distribution is never done by ones self. There are filmmakers who sit in their basements and do social media and contact groups and organizations while selling DVD out of their basement. They are do-it-yourself distributors, some of them with great success; but, it is a full time job and that film has to have a very specific target. If you look at the case studies of successful examples of DIY distribution, it really means filmmakers are retaining their rights and hiring practised professionals to do the work for them. They are not selling the film to a full service distributor, they are retaining the various components that fall onto the heading of distribution and marketing & enabling themselves, funding it themselves, but they have people working with them. 4. How much money should filmmakers be thinking about to execute a theatrical release? First they need to think about what are their goals. Some people need their films to be seen to affect the architecture of their careers and get themselves on the map, some people need their movie to be seen to recover the investment that went into production, or it can be all of the above. So the first question is how much money can I make back if I release the film theatrically? Its a marketing investment. Even if the theatrical isn’t going to yield much money, you are putting money into marketing the title in the hope it doesn’t become one of the 500 titles on a digital menu; but, its is one people have heard of and that has developed some sort of profile. As for what it cost there is obviously a long range. It can be ten’s of thousands of dollars, hundred’s of thousands of dollars or even millions. We’ve done it all and each film depending on the elements, the size of the cast, project, the potential following the theatrical determines what you spend. In general its very difficult to do for anything below six figures so you’re talking one hundred thousand dollars or more depending upon the number of markets you want to be seen in and things like talent. Films that have stars are better off sometimes then ones that don’t but working with stars and moving them around to get the publicity is expensive. If you have an actress in a movie and she can get on the David Letterman show, its a great thing because your movie will be discussed on the David Letterman show, but if she lives in Los Angeles and the show is in New York, you have to buy her airfare trip, you have to put her up in a hotel and pay for her make-up because she is a star and must look beautiful. So that one television segment can end up costing you ten’s of thousands of dollars. Talent can be the poison gift when they’re in your movie. They make it easier to publicize but they come with an enormous price tag. 5. What should filmmakers trying to get into a film festival think about to help them get their film in front of an audience? I think one thing every filmmaker should think about long and hard is raising money for distribution. When they raise their production financing, keep some money in their back pocket in the event the distribution landscape doesn’t come together. In that way, they will be in a position, without loosing momentum, to do some distribution themselves.
4383	dbpedia	1	61	https://scienceandfilm.org/articles/3575/director-interview-christopher-zalla-on-radical	en	Sloan Science & Film	https://scienceandfilm.o…/image11-min.jpg		[ "https://scienceandfilm.org/images/common/sciencefilm-greenback.gif", "https://scienceandfilm.org/images/common/sciencefilm-typeonly.png", "https://scienceandfilm.org/images/common/SloanFacebookIcon.png", "https://scienceandfilm.org/images/common/SloanTwitterIcon.png", "https://scienceandfilm.org/images/common/SloanRSSIcon.png", "https://scienceandfilm.org/images/common/SloanMailIcon.png", "https://scienceandfilm.org/uploads/articles/images/image11-min.jpg", "https://scienceandfilm.org/uploads/articles/images/image2-min.jpg", "https://scienceandfilm.org/uploads/articles/images/image6-min.jpg", "https://scienceandfilm.org/images/common/SloanFacebookIcon.png", "https://scienceandfilm.org/images/common/SloanTwitterIcon.png", "https://scienceandfilm.org/images/common/SloanMailIcon.png" ]	[]	[]	[ "film", "science", "news", "stories", "projects", "partners", "museum", "moving", "image" ]	null	[ "Sonia Shechet Epstein" ]	null	Sloan Science and Film is a website devoted to exploring the intersection of science and film, and enhancing the public understanding of science and technology.	en	/favicon.ico?v=		null	Director Interview: Christopher Zalla on RADICAL Winner of the Festival Favorite Award at the 2023 Sundance Film Festival, and the Sloan Distribution Grant through Film Independent, RADICAL is inspired by the true story of a teacher in a Mexican border town with few resources who tries a new teaching method. The film stars Eugenio Derbez, who is also one of the film’s producers. It is written and directed by Christopher Zalla, and will be released nationwide in the U.S. starting November 3. We spoke with Zalla about the story that inspired the film, his directorial approach, and why this teaching method is still radical. Science & Film: My understanding is that your interest in this story was sparked by a Wired article from 2013. What struck you most about the story? Christopher Zalla: The Wired magazine article was acquired by Ben Odell, the producer, and Eugenio [Derbez] the producer, they're partners at 3Pas Studios. We had actually all worked together on my first movie, which was my thesis film for grad film school, and it ended up going on to win Sundance, which almost felt like an accident. But, at that moment, Eugenio was already looking to break into the US market, and I remember he told me on the red carpet at Sundance: someday, I'm going to find a drama, and I'm gonna call you. The big joke is it just took him 15 years. They ended up sending me the article at the end of 2018. It’s an incredible story in the article, it's almost hard to believe. As I'm reading it, I'm almost stealing myself against it, and I cried like three times—there were just these magical moments in it that I really connected to. It's about a guy who had a crisis in the middle of his life and decided to start over, which was like a situation that I was finding myself in at the time. I got the script when I was living on a mountain-side lake in Guatemala, my house is only reachable by footpath or boat because I completely checked out to kind of restart. And so, I did very much identify with this character, who was trying something else, trying to restart. But then also in that process, I had become a father. There's something that's both so magical and inspiring, but also, to me, so heartbreaking, because on some level, you know, life is waiting in front of them and as aspirational as we can be, life is this constant corrective force. I really wanted to focus [the film] on how [this method] worked. What did he do? What if, unlike these other teacher movies, I tell it from the from the kids' eyes? We literally enter the world with them, we are them, the camera never goes higher than their height. Still from RADICAL S&F: Can you talk more about your approach in terms of craft and direction? CZ: We were always trying to create tension with oppositional forces, and so when we see the kids out in their world, there are these wider, static, kind of tableau shots. There was literally a fetid canal right next to the school that just didn’t move, and it's full of trash. To me, that was a metaphor for where we start the world, which is stasis and status quo. There's no movement, there's no possibility. And then, the contrast is when we meet Sergio. It's frenetic and there's jump cutting. Every time we cut to Sergio, I would jump several frames further than I should have so that he just had this little pop, like, where is he? It creates this energy that can combat the status quo and start to open it up. From a framing standpoint, we cut off all the adults at the chest level. There is a history of a kind of a teacher movie, which, by the way, we have not seen nearly enough of—the real superhero movie. But these films always cut to the kids when they didn't know calculus, and now they do—cut, cut, cut. And I thought, wouldn't it be amazing if we could just be in a room and watch the light get turned on from the teacher's standpoint, and how do the kids have that happen for them? Tell that from both perspectives. One big takeaway from this process has been that those of us who had a teacher like that get it. But on the other hand, there are people who've never had that kind of teacher and my heart breaks for them—what a horrible thing not to have experienced. But on the other hand, that's the reason we're telling this story. S&F: Since the Wired article came out, and since you've been in production with this film, to what extent is the approach you depict in your film still radical? CZ: It's still absolutely radical. It shouldn't be, but it is. What it was really all about, I've come to see through the filmmaking, was a hypothesis. I ended up having Sergio on set next to me, and I saw something that confirmed the hypothesis. For me, it was the simple change of instead of being the authority who looks down at you and says: do this, do that sit in the chair, only raise your hand when you're spoken to, memorize these things. Education is this prescriptive path that you have to follow, do not deviate from the plan… Versus somebody saying: Hey, what are you interested in? What do you what do you want to learn about? And then showing them that their curiosity gets rewarded with discovery, which becomes its own self-fulfilling motor. It's that joy of discovery that to me is the essence of youth. Ironically, although we filmed these kids at this [chest] level, I saw them very much as kids who weren't able to be kids. When I think about adults who are still so alive, those are the ones who are still learning. That’s the energy that I think Sergio brings. But most profoundly, it's valuing them. It's saying, what you think is actually valuable. Being genuinely interested in their ability to think, that's the skill that we're going to teach you in life: to be a thinker, to be curious, to ask questions, and by the way, don't worry about failure, that's part of it. This is what I wanted to get into in the nitty gritty of in the movie and the storytelling. And when I had Sergio next to me on set, he was there for several weeks, he's the real deal, the guy's just a saint, there's no other way to put it. But his phone was like blowing up all the time. I asked, what's going on? All his students over the last 15-20 years are in constant contact with him. And it's like, that's what he did. Still from RADICAL S&F: As the field of technology is changing, and as artificial intelligence is being introduced into the classroom, do you have thoughts on how those kind of methods intersect with the subjects you're dealing with in RADICAL? CZ: The guy who inspired Sergio, Sugata Mitra, he says, a teacher that can be replaced, should be replaced. We allude to it in the movie when Sergio says: they don't even need me, they just need computers. Of course, they have no computers, so it's a bit of a problem. I'm just inherently wary of artificial intelligence. I do think there's this extraordinary opportunity in places with very low resources, especially rural communities. If they have phone signals, then that does become a pathway through which they can access the internet. If you set a kid on that path to curiosity, investigation, discovery, even through that phone, it can be extremely, extremely rewarding. The irony is, Mitra started this thing called The Granny Cloud and it's thousands of women in England who are Zooming with kids in India, and their entire job is to say, Wow, that's amazing. How did you do that? The great irony is that Sergio thinks the kids don't need him and in fact, they very much do, because it's still that human thing; having someone believe in you is really, really helpful. ♦ More from Sloan Science and Film:
4383	dbpedia	3	97	https://www.romacinephilia.com/post/breathe-an-interview-with-brendan-lee	en	BREATHE: An Interview with Brendan Lee	https://static.wixstatic…f3a3b348~mv2.jpg	https://static.wixstatic…f3a3b348~mv2.jpg	[ "https://static.wixstatic.com/media/325517_bd42b069b2164e0d92442050f3a3b348~mv2.jpg/v1/fill/w_147,h_71,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/325517_bd42b069b2164e0d92442050f3a3b348~mv2.jpg", "https://static.wixstatic.com/media/325517_a6e8259482874ba3b8bbb331e0c77bd3~mv2.jpg/v1/fill/w_96,h_144,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/325517_a6e8259482874ba3b8bbb331e0c77bd3~mv2.jpg", "https://static.wixstatic.com/media/325517_7ca8fd1eaf414ecc8c40414be94d3953~mv2.jpg/v1/fill/w_147,h_71,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/325517_7ca8fd1eaf414ecc8c40414be94d3953~mv2.jpg", "https://static.wixstatic.com/media/325517_64b3d5e9d5c845dbac957cd1cb5c04f7~mv2.jpg/v1/fill/w_147,h_71,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/325517_64b3d5e9d5c845dbac957cd1cb5c04f7~mv2.jpg", "https://static.wixstatic.com/media/325517_c8191309945c47c09999374189cc4a7b~mv2.jpg/v1/fill/w_96,h_144,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/325517_c8191309945c47c09999374189cc4a7b~mv2.jpg", "https://static.wixstatic.com/media/325517_01571ac08d31498c87fa80f8b4bcbf40~mv2.jpg/v1/fill/w_645,h_250,fp_0.50_0.50,q_30,blur_30/325517_01571ac08d31498c87fa80f8b4bcbf40~mv2.jpg", "https://static.wixstatic.com/media/325517_01571ac08d31498c87fa80f8b4bcbf40~mv2.jpg/v1/fill/w_980,h_380,fp_0.50_0.50,q_90/325517_01571ac08d31498c87fa80f8b4bcbf40~mv2.jpg", "https://static.wixstatic.com/media/325517_e6c6d461bbc2484488cc0ed54f43accd~mv2.jpg/v1/fill/w_645,h_250,fp_0.50_0.50,q_30,blur_30/325517_e6c6d461bbc2484488cc0ed54f43accd~mv2.jpg", "https://static.wixstatic.com/media/325517_e6c6d461bbc2484488cc0ed54f43accd~mv2.jpg/v1/fill/w_980,h_380,fp_0.50_0.50,q_90/325517_e6c6d461bbc2484488cc0ed54f43accd~mv2.jpg" ]	[]	[]	[ "" ]	null	[ "Tokyo Cine Mag" ]	2022-03-11T19:26:33.715000+00:00	Please introduce yourself and tell us about your education and your interest in cinema. My name is Brendan Lee. I am born and raised in New York City where I currently reside with my wife and daughter. After 11 years working as a Firefighter with the FDNY I went back to school to study Film. My experience as a film student at Hunter College only fueled my lifelong passion for cinema that has now led me to become a Writer/Director. When not helping my wife raise our beautiful 5 year old daugh	en	https://static.wixstatic…65c509%7Emv2.jpg	Roma Cinephilia Mag	https://www.romacinephilia.com/post/breathe-an-interview-with-brendan-lee	Please introduce yourself and tell us about your education and your interest in cinema. My name is Brendan Lee. I am born and raised in New York City where I currently reside with my wife and daughter. After 11 years working as a Firefighter with the FDNY I went back to school to study Film. My experience as a film student at Hunter College only fueled my lifelong passion for cinema that has now led me to become a Writer/Director. When not helping my wife raise our beautiful 5 year old daughter, I spend my time writing and making movies using the “greatest backlot in the world”…the streets of New York City. Seeing and reading what works aroused your interest in this medium, and as a result, what works do you owe your education in cinema to? I was heavily influenced by the explosion of independent cinema in the 1990’s. My favorite works from that period include “The Brothers McMullen” by Ed Burns, Wes Anderson’s “Bottle Rocket”, and Richard Linlater’s “Before Sunrise”. There are, however, too many films that have influenced me to name here. From French New Wave classics like “The Lovers” to Hollywood Film Noir like “Where the Sidewalk Ends” and “Laura”, I truly love all genres and style of cinema. Tell us about your first project. What difficulties did you have in the beginning? My first project was a semiautobiographical film that I made with a very small crew. I think the most difficult part about it was taking on too much responsibilty being the Writer, Director, and Actor. Film is a collaborative art, no question, and the more people to work with on set, the better the process and the better the picture. Is it more important to have a budget, or to have the mind to find salvation solutions in critical situations? I believe that a small budget or no budget at all can be a blessing in the sense that it can fuel creativity. On my first film, I didn not have the budget for locations, sets, cast and yet a few script changes and being resourceful with my surroundings made for a much better production. I believe it was Robert Rodriquez that said he wrote his classic film, “El Mariachi” by looking around his house and crafting the whole story from a guitar case, a turtle, and a motorcyle. That is the ultimate inspiration for any filmmaker. Do you think film festivals help filmmakers? I think film festivals are still the best experience for filmmakers. Especially in person! The few that I’ve been able to attend while having a film in the festival were magical because I got to meet so many other like minded filmmakers and learn about their stories and creative process. Likewise, online festivals are equally important because the world has shifted to streaming and mobile devices and these festivals are a great tool to catch the audience in this new viewing environment. Tell us about film production companies. Can one, as an inquisitive filmmaker, count on production companies? I think that at this moment anyone can be their own production company. Every filmmaker has the power to write, shoot, edit, and promote their own film in the palm of your hand. True independence is not relying on anyone to tell you how or when to tell your story. How much of the future of cinema do you think is in the hands of powerful companies like Netflix? Unfortunately, I think Netflix controls the future of cinema as well as other streaming powerhouses. They have taken advantage of monitoring viewing habits and coupled that with their own filmmaking structure that feels comforting and familiar to the targeted audience. I mean, doesn’t every Netflix documentary look and feel the same, regardless of the topic? Is cinema, as some say, dead, and should we expect television and Internet broadcasts to be gaining more and more power? I don’t want o believe that cinema is dead although it makes me sad to be pondering this question. I still enjoy sitting in a dark movie theater for 2 hours. Sadly, sometimes I feel as though I have the theater all to myself, which I suppose is more comfortable, but that is not the idea. I make films with the hope that someday they will be shown on a big screen in a dark theater. As long as that possibility exists then cinema is not dead. What skills do you think a filmmaker needs to have? Is it necessary for the filmmaker to personally understand many specialized subfields? I think a filmmaker needs to be experienced in many skills. Writing is essential for me as a filmmaker and a skilled writer is usaully a well read person so in that sense I would say a filmmaker, and all human beings for that matter, should read whatever they can get their hands on. Tell us about your next project, please. My next project is going to be my first Feature! It is called THE CLADDAGH and it is another semiautobiographical story about my own journey as an artist and how I met and fell in love with my wife. It is a story about a young Irish-American writer who falls in love with a Colombian photographer on vacation in New York while at the same time he is trying to save his family’s Irish Pub from being sold to powerful real estate developers. I guess I believe mostly in “write what you know” and that the best films and stories for that matter don’t come from comic books or pulp novels, but from the heart. This film is going to be my most ambitious project to date, yet I still plan on keeping the independent spirit that has always inspired me. Production will take place this June in New York City. The story is set in the New York City borough of Queens, my hometown and one of the most diverse locations in the entire world. For more information on the film you can visit my website.
4383	dbpedia	3	78	https://superprimefilms.com/3693/sean-baker-in-shots/	en	Sean Baker in shots	https://superprimefilms.…l089-600x315.jpg	https://superprimefilms.…l089-600x315.jpg	[ "https://superprimefilms.com/wp-content/themes/superprime2015/images/icon-close-x.svg", "https://superprimefilms.com/wp-content/themes/superprime2015/images/logo.svg", "https://superprimefilms.com/wp-content/uploads/2019/04/Screen-Shot-2019-04-02-at-12.50.15-PM.png", "https://superprimefilms.com/wp-content/uploads/2019/03/PARIS-LOVES-US-Long-V-english-version-on-Vimeo.mov.00_07_02_09.Still216-960x540.jpg" ]	[ "https://superprimefilms.com/wp-content/uploads/2019/04/The-Florida-Project-_-Official-Trailer-HD-_-A24.mp4", "https://superprimefilms.com/wp-content/uploads/2019/04/Tangerine-Red-Band-Trailer.mp4" ]	[]	[ "" ]	null	[ "Jessica Krysiuk" ]	2019-04-03T16:58:12-07:00	Shots interviews Sean Baker about his career, future projects, and being a “two decade long overnight success.” Congratulations on signing with Superprime, how important is it for a director like yourself to have representation? Thank you. I'm very excited about being repped by Superprime. Their reputation precedes them and it is humbling to a part of	en	https://superprimefilms.…ages/favicon.png	Superprime	https://superprimefilms.com/3693/sean-baker-in-shots/	Shots interviews Sean Baker about his career, future projects, and being a “two decade long overnight success.” Congratulations on signing with Superprime, how important is it for a director like yourself to have representation? Thank you. I’m very excited about being repped by Superprime. Their reputation precedes them and it is humbling to a part of Superprime’s amazing roster of directors. It’s not only important to be represented in this industry but to be represented by those that understand your sensibility and can pursue the right projects for you. How did you get started in the industry? What was your big break? Big breaks are sometimes hard to define. I made five features and a long-lasting television show (all successful in one degree or another) but it took Willem Dafoe’s Oscar nomination with The Florida Project to get to a place where doors opened for me. I’m one of those with a two decade long overnight success. The best education that a filmmaker can get is in business school. The filmmaking skills are honed with experience and watching films. So I always tell aspiring filmmakers to watch films, listen to the DVD commentaries and go out and make something. Did you study filmmaking? Where did you study and how important is an education in filmmaking for young filmmakers? I studied filmmaking at both NYU and The New School and although I am very fortunate to have done so, I don’t think film school is a requirement for aspiring filmmakers. We really enjoyed The Florida Project. Talk us through the casting process for the children and the young female lead? Casting is everything. Casting can make or break a film, TV episode or spot, especially my work that is in many ways character studies. So I take my time in casting. We almost postponed The Florida Project because we were unable to find our Moonee. Then Brooklynn Prince came to one of our last auditions and blew us all away. What I look for is that perfect combination of strong personality and unique physicality. I always ask myself if I 100% believe this actor as the character and even more importantly if I want to spend the next two hours with this person. Talk us through the location scouting on that film. How many motels were scouted before settling on the location? Was it really that close to Disney World? Location scouting actually blends in to the writing of my films. So as we were developing the film and figuring out the plot and characters, we were also chasing locations and designing our scenes and set-pieces around those locales. I consider a good location to be a character. So in a way, I’m casting the locations. We looked at all the motels up and down Route 192 in Kissimmee, Fl. but it was always obvious that The Magic Castle was something special. And yes, it was really Disney World. Which of your early films are you must proud of? I’m proud of both Take Out and Prince of Broadway which are currently being restored and eventually re-released. Any plans to direct another television show? I would be very interested in taking an episode or two but I’m not developing any TV for the time being. My love is cinema and I’m focusing on features for the time being. What would be your dream project? I would love to make a film that allows me to take a swing at action set-pieces and still make a socio-political statement. The best of both worlds. Entertainment and social commentary. What other directors work do you admire? Where do you find the inspiration for your projects? I’m a cinephile so there are hundreds of filmmakers I admire. But to name a few that are working today… Ruben Östlund, Ulrich Seidl and Sion Sono. I find inspiration in other films but also in travel and meeting new people. I’m lucky enough to be able to travel the world with my work. Life experience is always the best inspiration. What is up next? I’m currently deep in development on a film that focuses on the failing war on drugs and the way other countries tackle and perceive addiction.
4383	dbpedia	2	34	https://www.l-camera-forum.com/topic/293955-fujifilm-hell-bent-on-discontinuing-films-why/	en	Fujifilm hell-bent on discontinuing films - why?	https://www.l-camera-for…png?v=1713945598	https://www.l-camera-for…png?v=1713945598	[ "https://www.l-camera-forum.com/uploads/monthly_2018_10/luf-logo-v1.png.d4ef2666a71b632718817375384ebf3e.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/emoticons/default_smile.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/monthly_2022_08/FDB384D8-8F18-45DF-9D72-BA6480F7FFF8.thumb.jpeg.b440d950ea7ca806de2c68562f0fa96d.jpeg", "https://www.l-camera-forum.com/uploads/monthly_2022_08/FDB384D8-8F18-45DF-9D72-BA6480F7FFF8.thumb.jpeg.b440d950ea7ca806de2c68562f0fa96d.jpeg", "https://www.l-camera-forum.com/uploads/monthly_2019_02/R3.thumb.jpg.d80b319a5d47058fd29d40192109972e.jpg", "https://www.l-camera-forum.com/uploads/monthly_2019_02/R3.thumb.jpg.d80b319a5d47058fd29d40192109972e.jpg", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/monthly_2021_04/DASAvatar.thumb.jpg.d11817dcf963f4d208d6829f8fbda39c.jpg", "https://www.l-camera-forum.com/uploads/monthly_2021_04/DASAvatar.thumb.jpg.d11817dcf963f4d208d6829f8fbda39c.jpg", "https://www.l-camera-forum.com/uploads/emoticons/default_wink.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/reactions/react_thanks.png", "https://www.l-camera-forum.com/uploads/profile/photo-thumb-2065.jpg", "https://www.l-camera-forum.com/uploads/profile/photo-thumb-2065.jpg", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/profile/photo-25847.png", "https://www.l-camera-forum.com/uploads/profile/photo-25847.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/reactions/react_thanks.png", "https://www.l-camera-forum.com/uploads/monthly_2023_11/ava2.thumb.jpg.0e5da695810284b727f548b18762dba9.jpg", "https://www.l-camera-forum.com/uploads/monthly_2023_11/ava2.thumb.jpg.0e5da695810284b727f548b18762dba9.jpg", "https://www.l-camera-forum.com/uploads/team_staff.png", "https://www.l-camera-forum.com/uploads/emoticons/default_laugh.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/reactions/react_thanks.png", "https://www.l-camera-forum.com/uploads/profile/photo-25847.png", "https://www.l-camera-forum.com/uploads/profile/photo-25847.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/emoticons/default_laugh.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/profile/photo-3157.png", "https://www.l-camera-forum.com/uploads/profile/photo-3157.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/monthly_2021_04/DASAvatar.thumb.jpg.d11817dcf963f4d208d6829f8fbda39c.jpg", "https://www.l-camera-forum.com/uploads/monthly_2021_04/DASAvatar.thumb.jpg.d11817dcf963f4d208d6829f8fbda39c.jpg", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/profile/photo-5573.png", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/monthly_2019_02/R3.thumb.jpg.d80b319a5d47058fd29d40192109972e.jpg", "https://www.l-camera-forum.com/uploads/monthly_2019_02/R3.thumb.jpg.d80b319a5d47058fd29d40192109972e.jpg", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/monthly_2023_04/DSC05579.thumb.jpg.c8014dbf7ad3c8e57f28f91cfdd9045c.jpg", "https://www.l-camera-forum.com/uploads/monthly_2023_04/DSC05579.thumb.jpg.c8014dbf7ad3c8e57f28f91cfdd9045c.jpg", "https://www.l-camera-forum.com/uploads/reactions/react_like.png", "https://www.l-camera-forum.com/uploads/set_resources_2/84c1e40ea0e759e3f1505eb1788ddf3c_default_photo.png", "https://www.l-camera-forum.com/uploads/monthly_2024_08/IMG_9199.thumb.jpeg.395e5fadad273fb74fb7630bbf8aac91.jpeg", "https://www.l-camera-forum.com/uploads/profile/photo-3073.png", "https://www.l-camera-forum.com/uploads/profile/photo-thumb-3406.jpg" ]	[]	[]	[ "" ]	null	[]	2019-05-15T13:48:17+00:00	With the huge resurgence of film, the immense success of Ektachrome, Fujifilm seems to be truly hell-bent on discontinuing their film stock. What's really concerning to me is the announcement of the 5-packs of Velvia 50 & Velvia 100 soon, the singles can't be too far behind given their histor...	en	https://www.l-camera-for…png?v=1713945598	Leica Forum	https://www.l-camera-forum.com/topic/293955-fujifilm-hell-bent-on-discontinuing-films-why/	Advertisement (gone after registration) With the huge resurgence of film, the immense success of Ektachrome, Fujifilm seems to be truly hell-bent on discontinuing their film stock. What's really concerning to me is the announcement of the 5-packs of Velvia 50 & Velvia 100 soon, the singles can't be too far behind given their history. On the other hand, the Hipster Instax film can be found EVERYWHERE! My wife walked into a Joann's the other day and found it at the register. Unbelievable. It feels that we got into film a couple years too late. We've really missed out on amazing films .. FP100c, Natura 1600, Superia, Acros (we did find some stock at Blue Moon Camera). Seems like a better business strategy would be to spin-off the film division of Fujifilm into a more nimble operation, rather than totally killing it off. 12 hours ago, lcd32bit said: With the huge resurgence of film Yeah, well. Film is like a stock that peaked at $1000.00, and dropped to $0.02 a share, and has now "resurged" to $0.03 a share. I like to use it - I'm glad it's not in my retirement fund! Companies are not charities - they make stuff that makes a profit for them. As it happens, Kodak never got its other products to be as profitable as film, so it kept making film (going through bankruptcy in the process), As did Ilford (which mostly had no other products - Ilford inkjet papers were a separate Swiss company left over from the Ciba-Geigy/Ilford merger decades ago). As did Agfa - which did spin off its "photo materials" division, which shrivelled and died within 3-4 years. The deal is this: Fujifilm and Kodak informally divided up the color film market after the 2008 crash. Kodak dropped slide films (Kodachrome, then Ektachrome) in favor of negs (since they had a big share of the motion-picture market, which uses color neg film for shooting (when not using digital)). Kodak cut a deal with Hollywood that guaranteed the studios would buy X-million feet of color-neg movie film per year so long as Kodak guaranteed to make X-million feet of movie film per year. Fuji got the color slide/positive market, and reduced their participation in the color neg market (including abandoning their motion-picture products). And, of course, revived "Instant Polaroid" under the Instax brand (although there's also another revived Polaroid - formerly The Impossible Project, a group of ex-Polaroid chemists who restarted the Enschede, Netherlands factory - now using the original name). (Still with me? ) But now Kodak is reviving Ektachrome as part of their motion-picture deal - Hollywood needs new blood, and student cinematographers need a "simple" way to make and process and edit student color movies, thus Kodak is producing a Super-8mm "student" movie camera and the Super-8mm Ektachrome to feed it. https://www.kodak.com/consumer/products/super8/default.htm With the side benefit that they will coat 35mm and 120 for us still photographers. But that's going to eat into Fuji's slide-film share, that they've had all to themselves for whatever it's been - 6-7 years. So Fuji sees the writing on the wall, and will scale back E6 films, and count on Instax and their office copier and digicam businesses. In other news, the Kodak UK pension fund (KPP2) is apparently in the latter stages of negotiating the sale of its paper, photochemical and film division (as part of divesting itself entirely of Kodak Alaris if it can). As is well known, Kodak Alaris is a marketing and distribution entity and not the manufacturer of Kodak film so the demise of Alaris (if that is what ultimately happens) isn't the end of the story for Kodak film. The PPF division is described as "cash generative" (though clearly not cash generative enough to dissuade the pension fund against flogging an asset it values at only $34m) and it sounds as if a sale is imminent. It will be interesting to see who might be buying. My guess is that it isn't Ilford, Fujifilm or another surviving film manufacturer, even if that would seem logical. Whilst I don't fear for the immediate future of Kodak (either Eastman or Alaris) I thought it was a good excuse to buy some more Portra.😀 Edited February 4, 2019 by wattsy It has been a bleak couple of weeks for film, what with the Fuji indications of cut backs, Tetenal probably closing unless a buyer can be found in the very near future and Kodak looking to sell Alaris. Just when we thought it was safe to go back in the water and film was looking at a modest revival. The main champion of film at Fuji, Mr. Shigetaka Komori, is 79 years old and one wonders how much longer he will want to remain as chairman and CEO. Who would buy Alaris? Sadly, I doubt that buyers will be queuing up round the block. Alaris have been trying hard with the re-introduction of Ektachrome, TX3200 and wider distribution of Profoto 100 "tropical" colour negative film. I have bought 10 rolls of this latter film for my India trip. What happens if no buyer/rescuer for Alaris appears? The main shareholder of Alaris is not Kodak per se but the Kodak pension fund. The fund trustees are obliged under law to take dispassionate decisions and emotionally much as they would like film production to continue, Alaris would have to demonstrate that they can operate profitably - not easy. Wilson Wouldn't surprise me if Kodak simply buys back their former property (basically, the rights to be the distributor on Kodak photo products, and take the "middle-man" profits). Kodak (as opposed to the Alaris spinoff) never gave up the film production business - they just provided the products for Alaris to sell. (At cost? for free?) The machines and labs in Rochester still belong to Kodak (and also produce motion picture film by the millions of feet per year - not a part of the KPP/Alaris portfolio). Bottom line, the UK Kodak Pension Plan (KPP) is finding out the same thing Kodak did before declaring bankruptcy. Selling film can be profitable - it can't be profitable enough to support the burden of decades of corporate pension obligations. Especially for a pension fund, which is at core an investment business, not a "running a company" business. KPP is reportedly shopping around the photography part of the business (film, color paper, chemicals) for $34 million. Less than the price of one Gulfstream IV business jet (!). Someone who is an investment maven can probably figure out what level of EBITDA justifies an investment of that amount. I'd guess Kodak can do better than a de novo investor. Absorb it back in, keep their machines running efficiently, handle the distribution to stores (on-line and brick-and-mortar) and take all the profits for themselves.
4383	dbpedia	3	81	https://www.dailyrindblog.com/welcome-rebecca-fisher/	en	Welcome, Rebecca Fisher!	https://cdn-d.smehost.ne…sher-250x250.jpg	https://cdn-d.smehost.ne…sher-250x250.jpg	[ "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2019/05/dailyrind-logo-new.png", "https://cdn-d.smehost.net/sites/33342fef016449209469a86ecd55cb00/wp-content/uploads/2016/06/Rebecca-Fisher-250x250.jpg", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2016/05/JimWehrfritz.png", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2018/04/caleb-e1523978515133.jpg", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2016/05/ElissaFederoff.png", "https://cdn-p.smehost.net/sites/2f04351fbce84b459f34a00d1cd0ddd8/wp-content/uploads/2019/05/orchard-footer-logo.png" ]	[]	[]	[ "" ]	null	[ "Diana Wollach" ]	2016-08-03T14:00:21+00:00	The Orchard's Film team is happy to welcome Rebecca Fisher as Director of Theatrical Publicity. Get to know her extensive background on The Daily Rind.	en	https://www.dailyrindblog.com/wp-content/themes/twentynineteen-child/favicon.ico	The Daily Rind	https://dailyrindblog.com/welcome-rebecca-fisher/	Introducing Rebecca Fisher, Director, Theatrical Publicity Hi everyone! I am Rebecca Fisher and I am so happy to be joining The Orchard team as Director of Theatrical Publicity. I’ve come here from the publicity agency PMK*BNC, where I worked for two years on a variety of films including CAROL, THE HATEFUL EIGHT, THE IMITATION GAME, IRIS, and LIFE AFTER BETH. Prior to PMK, I was at another agency called Block Korenbrot for eight years, where I worked closely with Sony Pictures Classics on a range of wonderful films including AN EDUCATION, A SEPARATION, IN A BETTER WORLD, and SEARCHING FOR SUGAR MAN. I also worked on Pablo Larraín’s NO, which was nominated for a Foreign Language Academy Award. I am thrilled to have the opportunity to work on his new film NERUDA, which we just acquired out of Cannes. I moved to LA 14 years ago from Seattle. While there, I worked for the Seattle International Film Festival, and before that I managed several independent video stores. When I am not at work, I love to go to the cinema, hang out with my cat, and travel! I look forward to meeting all of you and to share many fun and successful film adventures.
4383	dbpedia	2	22	https://legacy.friends.ca/explore/article/hollywoods-bergstein-buys-canadas-thinkfilm/	en	Hollywood's Bergstein buys Canada's ThinkFilm	https://legacy.friends.c…n-1589387570.png	https://legacy.friends.c…n-1589387570.png	[ "https://legacy.friends.ca/workspace/assets/img/loading.gif", "https://legacy.friends.ca/workspace/uploads/misc/fcb_carbonzero_gros-en-1540301043.png" ]	[]	[]	[ "" ]	null	[ "Richard Blackwell", "Gayle MacDonald" ]	2006-10-25T00:00:00	Explore the issues that FRIENDS are actively working on, which span Canadian Stories, the CBC/Public Broadcasting, Culture and Public Policy.	en	https://legacy.friends.ca/favicon.ico		https://legacy.friends.ca/explore/article/hollywoods-bergstein-buys-canadas-thinkfilm/	ThinkFilm, an independent Canadian film distributor that has made waves by handling controversial and edgy movies, has been sold to a big U.S. outfit that will bring it greater financial clout. The deal will see ThinkFilm become part of the film conglomerate being assembled by Los Angeles-based producer David Bergstein, who earlier this year bought British-based Capital Films and merged it with his production company Mobius Pictures. The price he paid for ThinkFilm was not released, although sources in the industry say it was between $15-million and $25-million. ThinkFilm chief executive officer Jeff Sackman said the firm was willing to operate on a shoestring for a time, but it was clear from the start -- it was established in 2001 -- that eventually it would need more financial backing. The alternative was to try to raise money from individual investors, but it was "a smarter play" to sell to someone with deep pockets, he said. Mr. Sackman said he will stay on to run the firm under its new ownership, and will try to maintain the company's focus on high-quality independent films. Sources in Los Angeles, however, doubt that he will be around for the long term. ThinkFilm has raised eyebrows with the release of films such as Born Into Brothels and The Aristocrats, and is currently distributing Shortbus, a controversial movie that features non-simulated sex. In a statement, Mr. Bergstein praised ThinkFilm contributions to the film landscape as "nothing short of an extraordinary accomplishment." Mr. Sackman founded ThinkFilm with other former employees of Lions Gate Entertainment Corp., where he had been head of the distribution arm. In 2003, producer Robert Lantos came on board as an investor. The two have been feuding, according to people in the film business, but they both agreed to sell their holdings to Mr. Bergstein. In an interview Mr. Lantos described ThinkFilm as "a little jewel of a company in the specialty film niche which is ripe with opportunity." Asked why he is selling, Mr. Lantos said "I have been known to sell great companies with more opportunity than ThinkFilm has." When making films, "I operate from passion," he said. "When it comes to business deals, I operate from cold blooded profit motive." One question that hangs over the sale is what happens to Canadian films that ThinkFilm has in its pipeline. These movies were eligible for special tax treatment and marketing funding from Telefilm Canada, while the company was Canadian owned, but will no longer qualify. Mr. Sackman said those issues have not yet been settled.
4383	dbpedia	1	20	https://www.wikidata.org/wiki/Q98273324	en	Bordertown: The Mural Murders	https://www.wikidata.org/static/favicon/wikidata.ico	https://www.wikidata.org/static/favicon/wikidata.ico	[ "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	2021 film directed by Juuso Syrjä	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q98273324	2021 film directed by Juuso Syrjä Sorjonen: Muraalimurhat edit
correct_death_00084	FactBench	1	58	https://www.udiscovermusic.com/stories/bo-diddley-beat-feature/	en	Tracing The Bo Diddley Beat	https://www.udiscovermus…ges-74261243.jpg	https://www.udiscovermus…ges-74261243.jpg	[ "https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png", "https://www.udiscovermusic.com/wp-content/uploads/2021/04/uDiscover-top-site-230-site-logo.png", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/uDiscover-Music-logo-450x54.webp 450w, https://media.udiscovermusic.com/img/uDiscover-Music-logo-900x108.webp 900w", "https://media.udiscovermusic.com/img/uDiscover-top-site-230-site-logo.png 230w, https://media.udiscovermusic.com/img/uDiscover-top-site-460-site-logo.png 460w", "https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w", "https://media.udiscovermusic.com/img/trans28x22.gif 28w, https://media.udiscovermusic.com/img/trans56x44.gif 56w", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://www.udiscovermusic.com/wp-content/uploads/2022/01/Bo-Diddley-GettyImages-74261243.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2F0mWMZKbr690%2F0.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FNAd6CVtHTZc%2F0.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FrD5gVhI69c0%2F0.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FF-CegfPjMng%2F0.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FgzNHrFneJhI%2F0.jpg", "https://www.udiscovermusic.com/wp-content/plugins/wp-youtube-lyte/lyteCache.php?origThumbUrl=https%3A%2F%2Fi.ytimg.com%2Fvi%2FhD5MRBzY1uM%2F0.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/07/john-lennon-mind-games.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/07/john-lennon-mind-games.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/07/frank-zappa-apostrophe-vinyl.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/07/frank-zappa-apostrophe-vinyl.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Johnny-Cash-Songwriter-LP.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Johnny-Cash-Songwriter-LP.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers.jpg 1440w", "https://www.udiscovermusic.com/wp-content/uploads/2024/05/freddie-dreamers-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-820x820.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-45x45.jpg 45w, https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires.jpg 1280w", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/6512128BillyFuryWondrousPlaceStickerHires-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571.jpg 1440w", "https://www.udiscovermusic.com/wp-content/uploads/2023/08/Eddie-Cochran-GettyImages-74258571-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-354x354.jpg 354w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-300x300.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-1024x1024.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-150x150.jpg 150w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-768x768.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-1536x1536.jpg 1536w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-2048x2048.jpg 2048w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-285x285.jpg 285w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-438x438.jpg 438w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock.jpg 820w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-80x80.jpg 80w, https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-45x45.jpg 45w", "https://www.udiscovermusic.com/wp-content/uploads/2019/01/bill-haley-and-his-comets-rock-around-the-clock-354x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2019/04/Charley-Patton-GettyImages-74289958-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2019/04/Charley-Patton-GettyImages-74289958-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2019/04/Charley-Patton-GettyImages-74289958.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2019/04/Charley-Patton-GettyImages-74289958-400x240.jpg 400w", "https://www.udiscovermusic.com/wp-content/uploads/2019/04/Charley-Patton-GettyImages-74289958-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2015/09/Bobby-Darin-GettyImages-74259510-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2015/09/Bobby-Darin-GettyImages-74259510-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2015/09/Bobby-Darin-GettyImages-74259510.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2015/09/Bobby-Darin-GettyImages-74259510-400x240.jpg 400w", "https://www.udiscovermusic.com/wp-content/uploads/2015/09/Bobby-Darin-GettyImages-74259510-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-400x240.jpg 400w", "https://www.udiscovermusic.com/wp-content/uploads/2019/12/60s-GettyImages-638561608-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-300x180.jpg 300w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-1024x614.jpg 1024w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-768x461.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-1000x600.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-400x240.jpg 400w, https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325.jpg 1440w", "https://www.udiscovermusic.com/wp-content/uploads/2022/04/header-NWA-3000DPI300RGB1000173325-590x354.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2018/06/One-Love-How-Reggae-Music-Inspired-The-World-featured-image-web-optimised-1000-590x354.jpg 590w, https://www.udiscovermusic.com/wp-content/uploads/2018/06/One-Love-How-Reggae-Music-Inspired-The-World-featured-image-web-optimised-1000-768x460.jpg 768w, https://www.udiscovermusic.com/wp-content/uploads/2018/06/One-Love-How-Reggae-Music-Inspired-The-World-featured-image-web-optimised-1000.jpg 1000w, https://www.udiscovermusic.com/wp-content/uploads/2018/06/One-Love-How-Reggae-Music-Inspired-The-World-featured-image-web-optimised-1000-400x240.jpg 400w", "https://www.udiscovermusic.com/wp-content/uploads/2018/06/One-Love-How-Reggae-Music-Inspired-The-World-featured-image-web-optimised-1000-590x354.jpg", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2LP-7.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2LP-7.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2CD.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2CD.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2LP.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2024/04/Paul-McCartney-One-Hand-Clapping-2LP.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://www.udiscovermusic.com/wp-content/uploads/2018/01/uDiscover-footer-site-logo-400.png", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/rock-legends-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/urban-legends-logo.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg", "https://www.udiscovermusic.com/wp-content/uploads/2022/04/disney-logo-footer.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/udiscover-classical-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg", "https://media.udiscovermusic.com/img/campaign-brands/footer-menu/this-day-in-music-logo.jpg", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans22x11.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif", "https://media.udiscovermusic.com/img/trans28x22.gif" ]	[]	[]	[ "" ]	null	[ "Jim Allen" ]	2024-02-01T05:26:25+00:00	The Bo Diddley beat is one of the most copied rhythms in all of pop music. We trace where it came from and who took inspiration from it.	en	https://www.udiscovermus…icon-32x32-1.png	uDiscover Music	https://www.udiscovermusic.com/stories/bo-diddley-beat-feature/	In the beginning, there was Bo Diddley, and Bo Diddley had the beat. But there’s a lot more to the story than that. In 1955, Bo Diddley released a daring debut single he named after himself – a sweaty, swampy scorcher defined by a slashing, syncopated groove unlike anything heard in rock ‘n’ roll before. In the process, he laid down a template for generations to come. Rockers started putting their own spin on the “Bo Diddley beat” almost immediately, and the phenomenon continues unabated to this day. Over the years, everybody from The Who and The Rolling Stones to U2 and Tom Petty cranked out their own variation on/homage to Bo’s signature rhythm. But even though he made the beat famous to the point that it’s become inseparable from his stage name, the singer/guitarist born Ellas Otha Bates in McComb, Mississippi did not invent it. ADVERTISEMENT The beat’s beginnings West coast bandleader Johnny Otis didn’t harness the beat on record until after Bo broke through, but he claimed to have first played it in the early 1940s when he was drumming for “Count” Otis Matthews & The Oakland House Rockers. “He told me to do… what he called [a] ‘shave and a haircut six bits beat’ and keep beatin’ it,” Otis once told Wayne Jancik. He also said he heard it when he saw a prison work gang pounding it out with their hammers while building railroad tracks. Neither the Count nor the chain gang ever put the beat on wax, but Chicago drummer and bandleader Red Saunders beat Bo to the punch in 1952 with his single “Hambone.” Most of the track is propelled by polyrhythmic hand-slapping, but right in the middle, the drums deliver the beat in question in no uncertain terms. And like Diddley’s game-changing debut single, the lyrics are derived from the old nursery rhyme “Hush, Little Baby.” But all that hand-slapping on the Saunders recording is part of a tradition just as deep as that of the lyric. Hambone, also known as the Juba dance, is an African American cultural phenomenon that goes all the way back to the days of slavery. Enslaved Africans brought the rhythm from their homeland to the plantations of the American South. It came from the Yoruba people of West Africa, but the Yoruban diaspora had long since extended to Cuba as well, where the beat evolved into the rumba clave crucial to Afro-Cuban music. Back home, the rhythm would have been played on a drum. But the plantation owners, fearful of their forced laborers sending secret, subversive messages to each other through drumming, forbade the instruments. In place of the drums, the transplanted Africans developed a series of dances based around slapping their hands against each other and against other body parts. In a development not dissimilar to the way capoeira came about in Brazil, the practice of “pattin’ Juba” was born. By the time singing was added to the mix in the 19th century, the tradition was better known as hambone. And that’s where Red Saunders (alongside “Count” Otis and countless unrecorded others) comes in. Early adopters Hand jive was a later variation on hambone that became a hit in the 1950s partly due to Johnny Otis’s 1958 song “Willie and the Hand Jive.” Otis had released records since the late 1940s with nary a hint of the hambone beat, so it seems like a good bet that he was at least emboldened to bring it to the rock ‘n’ roll world by his buddy Bo’s success. Otis said that Bo once half-jokingly took him to task for the similarities between their songs, but Otis was having none of it: “I said to ’im, ‘You ever heard “Hambone?”’ And he said, ‘Ssssh!’” Whatever the case, when the Checker 45 “Bo Diddley” arrived in April of 1955 it sounded utterly original to rock ‘n’ roll audiences. Bo chomps out the groove on his guitar, with a tremolo effect giving his riffs an otherworldly vibe while the drums and Jerome Green’s maracas create an ecstatic explosion of polyrhythm. It was completely different from the six-string blueprint Chuck Berry would start hashing out with his first singles just a few months later, but just as full of sensuality and wild abandon. The song was such a sensation that covers started popping up just weeks later, from Jean Dinning’s fairly faithful rendition to a bizarre big-band mambo version by The Joe Reisman Orchestra. Even Buddy Holly had a go at it, in one of his earliest sessions with producer Norman Petty. The cover wouldn’t be released until after Holly’s death, but Holly was very much alive when “Not Fade Away” came out in 1957. All these years later it remains one of the most beloved adaptations of the Bo Diddley beat, with The Crickets’ wordless backup vocals accentuating the rhythm and Jerry Allison providing the basis of the beat by hitting a cardboard box. Over the years, “Not Fade Away” probably inspired at least as many covers as “Bo Diddley.” In 1958 even guitar hero Duane Eddy (no stranger to tremolo himself) joined the party, with his Bo-influenced instrumental hit “Cannonball.” Of course, the syncopated tattoo that propelled Bo’s first single wasn’t the only move in his playbook, but he became inextricably associated with it. And while the beat occupied only a small percentage of his early output, he trotted out a vital variation on it for his third single, the lust-soaked “Pretty Thing,” and again in 1957 for the spookily sexy “Mona.” Both would be covered by loads of rock and blues artists, especially in the 1960s, when his music helped change the world. The big Bo boom In the first half of the 1960s, both the British Invasion bands and their U.S. counterparts were wowed by the wonder of the 1950s Chess Records catalog (Chuck Berry, Muddy Waters, Howlin’ Wolf, et al.). Their covers of those tunes and their Chess-inspired originals became the next rock ‘n’ roll wave to dominate the planet. Bo Diddley’s classic sides for Chess subsidiary Checker were a crucial part of the equation. The Beatles, The Searchers, and other British bands were playing Bo Diddley tunes on the now-legendary Hamburg club circuit of the early 60s. In February of 1964, a bunch of scruffy kids calling themselves The Rolling Stones had their first big hit (and their first U.S. single) with a gritty take on “Not Fade Away” nearly as stripped-down as the original. A couple of years later they’d slip the beat into their own “Please Go Home,” adding a little psychedelic sauce. The UK version of The Animals’ self-titled 1964 debut LP even led off with “The Story of Bo Diddley” a quirky, five-and-a-half-minute piece where Eric Burdon delivers a spoken account of Bo’s innovations and influence on ‘60s Brits, over backing that sounds just like you’d expect. Not only is the feral fury of The Pretty Things’ 1964 debut single, “Rosalyn,” powered by a Bo Diddley beat, the band named itself after one of his songs. Van Morrison’s “Mystic Eyes” leads off the U.K. edition of his band Them’s 1965 debut album, Angry Young Them. The band had decamped to England by that time, and a stroll past a Nottingham graveyard reportedly inspired what came off like a cross between “Pretty Thing” and William Butler Yeats. Pete Townshend wrote The Who’s hambone-ready hit “Magic Bus” in 1965 when the band was cutting its first album, but they didn’t record it until 1968. Across the Atlantic in that era, you’d find a pre-fame Harry Nilsson working as The Foto-Fi Four, writing and releasing 1964’s “Stand Up and Holler,” a novelty song about The Beatles driven by plenty of Diddley-esque drumming. The Byrds hopped on the train with the Jackie DeShannon-penned “Don’t Doubt Yourself, Babe” from their 1965 debut LP, Mr. Tambourine Man, adding some Bo tremolo to their signature 12-string sound. With their one-off project The Strangeloves, hit songwriters/producers Bob Feldman, Richard Gottehrer, and Jerry Goldstein scored big in 1965 with the primal slam of “I Want Candy,” which would become a huge hit all over again in a 1982 Bow Wow Wow cover version. But rock wasn’t the period’s only outlet for the Bo beat, as a listen to Smokey Robinson & The Miracles’ “Mickey’s Monkey” and The Supremes’ “When the Lovelight Starts Shining Through His Eyes” makes plain. If you squint hard enough, it might even be possible to imagine a link between that groove and Motown’s signature “You Can’t Hurry Love” rhythm. Bo’s beat goes on The beat, as they say, goes on. Iggy Pop’s feral snarl bounced off it on The Stooges’ proto-punk classic “1969” (and again years later on his celebrated solo tune “Lust for Life”). So, the punks had no problem adopting it for their own either – see The Clash’s “Rudie Can’t Fail” and The Damned’s “Anti-Pope” for confirmation. The same situation held true when post-punk came around. The Fall’s frontman, Mark E. Smith, a man scarcely known for tossing around compliments, once told Uncut, “All these bloody groups have tried to imitate him but no one sounds anything like him.” Naturally The Fall put their hat in the ring too, with “Dice Man,” among others. Key New Wave inspirations like Brian Eno and David Bowie had trod the territory in the mid-‘70s (see “Blank Frank” and “Panic in Detroit,” respectively). So, when New Wave came to the forefront, a veritable Diddleyfest ensued. There was Elvis Costello’s “Lover’s Walk,” Talking Heads’ “Ruby Dear,” The Police’s “Deathwish,” The dB’s “Amplifier,” The Soft Boys’ “Wey Wey Hep Uh Hole” – The Jesus and Mary Chain even had a tune called “Bo Diddley is Jesus,” with a beat to back up their declaration. The immortal groove has always been present on the classic rock end of the spectrum too, from Tom Petty (“A Mind with a Heart of Its Own”) and Bruce Springsteen (“She’s the One”) to REO Speedwagon (“Don’t Let Him Go”) and Guns N’ Roses (“Mr. Brownstone”). Throughout the 70s and 80s, the Bo beat found its way into plenty of Top 40 hits too. Neil Sedaka’s “Bad Blood,” Shirley and Company’s “Shame, Shame, Shame,” U2’s “Desire,” George Michael’s “Faith,” and Ace Frehley’s cover of Hello’s “New York Groove” all brought the hand-jive bump to the US pop charts. The influence has unavoidably extended into the 21st century. From hits like KT Tunstall’s “Black Horse and the Cherry Tree” and Rihanna’s “If It’s Lovin’ That You Want” to cutting-edge alt-pop tracks of the 2010s like Tune-Yards’ “Water Fountain” and St. Vincent’s “Bring Me Your Loves,” the old hambone rhythm never stopped stirring things up. And in some realm beyond our own, the man who made it famous is looking on and laughing his butt off.
correct_death_00084	FactBench	3	41	https://www.toledoblade.com/news/deaths/2008/06/02/Rock-pioneer-Bo-Diddley-dies-at-age-79/stories/200806020021	en	Rock pioneer Bo Diddley dies at age 79	https://www.toledoblade.…n-Bo-Diddley.jpg	https://www.toledoblade.…n-Bo-Diddley.jpg	[ "https://a9a1263f9caafb223a0e-ed6332b96e149fbe46aac9e4618971f3.ssl.cf2.rackcdn.com/images/pgmisc/facebook-messenger-icon-75px.png" ]	[ "//www.googletagmanager.com/ns.html?id=GTM-TR3FCT" ]	[]	[ "Toledo Blade", "Deaths" ]	null	[]	2008-06-02T00:00:00	JACKSONVILLE, Fla. Bo Diddley, a founding father of rock 'n' roll whose distinctive	en	/apple-touch-icon.png?v=lk2d0BAGPx	The Blade	https://www.toledoblade.com/news/deaths/2008/06/02/Rock-pioneer-Bo-Diddley-dies-at-age-79/stories/200806020021
correct_death_00084	FactBench	0	14	https://www.telegram.com/story/news/local/north/2008/06/03/music-legend-bo-diddley-dies/52391309007/	en	Music legend Bo Diddley dies	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/2008/06/03/NTEG/ghows-WT-5a57ac74-7b0b-4480-b671-8bcb7060ab69-220824d0.jpeg?crop=694,521,x0,y0?width=320&height=240" ]	[]	[]	[ "" ]	null	[ "Ron Word THE ASSOCIATED PRESS, The Worcester Telegram & Gazette" ]	2008-06-03T00:00:00	Bo Diddley, a founding father of rock ’n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died yesterday after months …	en	https://www.gannett-cdn.…ages/favicon.png	Telegram & Gazette	https://www.telegram.com/story/news/local/north/2008/06/03/music-legend-bo-diddley-dies/52391309007/	Bo Diddley, a founding father of rock ’n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died yesterday after months of ill health. He was 79. Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation. The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton. Diddley appreciated the honors he received, “but it didn’t put no figures in my checkbook.” “If you ain’t got no money, ain’t nobody calls you honey,” he quipped. The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview. “I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow. His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard. The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars. Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.” Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.”
correct_death_00084	FactBench	3	16	https://www.ocala.com/story/news/state/2008/06/03/early-rocker-bo-diddley-dies-at-79/31249338007/	en	Early rocker Bo Diddley dies at 79	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/2008/06/03/NOSB/ghows-LK-2eef3e43-cea1-4436-83e5-22de2b85dfa6-e19ec050.jpeg?crop=718,541,x0,y29?width=320&height=240" ]	[]	[]	[ "" ]	null	[ "BILL DEAN THE GAINESVILLE SUN, The Star Banner" ]	2008-06-03T00:00:00	GAINESVILLE - Rock 'n' roll pioneer Bo Diddley, whose famous beat became a building block of rock 'n' roll and inspired generations from Bruce Springsteen to Tom Petty, died early Monday at his home …	en	https://www.gannett-cdn.…ages/favicon.png	Ocala Star-Banner	https://www.ocala.com/story/news/state/2008/06/03/early-rocker-bo-diddley-dies-at-79/31249338007/	GAINESVILLE - Rock 'n' roll pioneer Bo Diddley, whose famous beat became a building block of rock 'n' roll and inspired generations from Bruce Springsteen to Tom Petty, died early Monday at his home near Archer. The 79-year-old musician died of heart failure, said spokeswoman Susan Clary. Born Ellas Otha Bates in McComb, Miss., he had suffered a stroke while on tour in Iowa in May 2007, and suffered a heart attack three months later. He had been recovering at home near Archer in Alachua County, where he had lived for more than 20 years. "He gave the world so much," said Scott Free, a guitarist and longtime family friend who performed with Diddley in the 1980s after he had begun dating the singer's daughter, Tammi McDaniel. "He was really, really sweet - a really generous person almost to a fault." With Chuck Berry, Little Richard, Elvis Presley, Fats Domino and Jerry Lee Lewis, Diddley became one of the architects of rock 'n' roll in the mid-1950s. The guitarist/singer/songwriter scored major pop hits with "Bo Diddley" and "I'm a Man" in 1955 on Chicago's Chess Records, and drew attention to rock 'n' roll's backbeat on a label primarily known for the blues. From there, his "dunt da dunt da dunt, da dunt dunt" beat became an integral and instantly identifiable part of rock 'n' roll's grammar. And his sound influenced artists in styles as diverse as rockabilly, punk, hip-hop, British invasion pop and others. "It's not the number of notes you play, it's the notes you select," Free said about the beat. Over the years, Diddley variously claimed to have adapted the beat from music he heard in church, from trying to play the Gene Autry song "Jingle Jangle," and from attempting to play his guitar like a drum. The "Bo Diddley beat" could be heard in countless rock and hits, from Buddy Holly's "Not Fade Away" and The Who's "Magic Bus" to Elvis Presley's "His Latest Flame," Tom Petty's "American Girl," George Michael's "Faith" and Bruce Springsteen's "She's the One." Diddley's "Who Do You Love" was memorably covered by guitarist George Thorogood in 1978 and his music was featured on the soundtracks of such films as "Boys Don't Cry," "The Color of Money," "Dirty Dancing" and "La Bamba," and in a series of Nike ads in 1989, in which Diddley appeared with football/baseball star Bo Jackson. Born on Dec. 30, 1928, in McComb, Miss., Diddley was raised by his mother's cousin, Gussie McDaniel, and moved with her to Chicago at age 7. He later took her surname, becoming Ellas McDaniel. Accounts of the origin of his stage name, Bo Diddley, vary widely, but he had begun to use it by 1954, when he recorded "I'm a Man" and his namesake song at Chess Records' studios on the south side of Chicago. Issued as a single, "Bo Diddley" hit No. 1 on Billboard's R&B Singles chart in 1955, while its flipside, "I'm a Man," was on the charts for 11 weeks. Diddley was inducted into the Rock and Roll Hall of Fame in 1986 and received a Grammy Lifetime Achievement Award in 1998. His last recording, "A Man Amongst Men" (Code Blue/Atlantic) received a Grammy nomination. He had continued to perform into 2007, until he suffered a stroke in May 2007, in Council Bluffs, Iowa, followed by a heart attack in August. Diddley is survived by his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel, as well as 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren. Private and public services are planned for this weekend. Star-Banner reporter shares memories of Bo Diddley. 2A The "Bo Diddley beat" could be heard in countless songs, from Buddy Holly's "Not Fade Away" and The Who's "Magic Bus" to Elvis Presley's "His Latest Flame," Tom Petty's "American Girl," George Michael's "Faith" and Bruce Springsteen's "She's the One."
correct_death_00084	FactBench	0	43	https://ultimatepopculture.fandom.com/wiki/Bo_Diddley	en	Bo Diddley	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/ultimatepopculture/images/7/76/Nuvola_apps_kaboodle.svg.png/revision/latest/scale-to-width-down/16?cb=20211223233933", "https://static.wikia.nocookie.net/ultimatepopculture/images/5/52/Commons-logo.svg.png/revision/latest/scale-to-width-down/30?cb=20211108053428", "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Ultimate Pop Culture Wiki" ]	2024-07-03T16:38:30+00:00	Ellas McDaniel (born Ellas Otha Bates;[1][unreliable source?] December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly,[2...	en	/skins-ucp/mw139/common/favicon.ico	Ultimate Pop Culture Wiki	https://ultimatepopculture.fandom.com/wiki/Bo_Diddley	This article is about the singer. For other uses, see Bo Diddley (disambiguation). External video "Bo Diddley Talks About His Early Days, Including His Twelve Years of Classical Music Training". Interview, June 23, 2005. National Association of Music Merchants Oral History Library. NAMM.org Ellas McDaniel (born Ellas Otha Bates;[1][unreliable source?] December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly,[2] Elvis Presley,[3] The Beatles, The Rolling Stones,[4] The Animals, George Thorogood, and The Clash.[5] His use of African rhythms and a signature beat, a simple five-accent hambone rhythm, is a cornerstone of hip hop, rock, and pop music.[4][6][7] In recognition of his achievements, he was inducted into the Rock and Roll Hall of Fame in 1987, the Blues Hall of Fame in 2003, and the Rhythm and Blues Music Hall of Fame in 2017.[8][6][9] He received a Lifetime Achievement Award from the Rhythm and Blues Foundation and the Grammy Lifetime Achievement Award.[10] Diddley is also recognized for his technical innovations, including his use of tremolo and reverb effects to enhance the sound of his distinctive rectangular-shaped guitars.[11][12] Early life[] Bo Diddley was born in McComb, Mississippi,[nb 1] as Ellas Bates (some sources give his name as Otha Ellas Bates or as Elias Otha Bates).[14] In a 2001 interview with Ken Paulson on the program Speaking Freely, the artist stated: "That's why I have the name Ellas Bates McDaniel. ...Now that's cleared up -- Somebody done read something -- My name is not 'Otha'. If you read that in a book someplace, I don't know where they got that 'Otha' from. But somebody decided 'Well, we don't know what his name is, so let's give him one!'"[15] He was the only child of Ethel Wilson, a sharecropper's teenaged daughter, and Eugene Bates,[16] whom he never knew. Wilson was only sixteen, and being unable to support a family, she gave her cousin, Gussie McDaniel,[17] permission to raise her son.[13] McDaniel eventually adopted him, and he assumed her surname.[18] After his adoptive father Robert died in 1934, when Diddley was 5 years old,[19] Gussie McDaniel moved with him and her three children to the South Side of Chicago;[20][nb 2] he later dropped Otha from his name and became Ellas McDaniel.[21] He was an active member of Chicago's Ebenezer Missionary Baptist Church,[22] where he studied the trombone and the violin,[20] becoming so proficient on the violin that the musical director invited him to join the orchestra, in which he played until he was 18. However, he was more interested in the joyful, rhythmic music he heard at a local Pentecostal Church and took up the guitar;[23] his first recordings were based on that frenetic church music.[24] Diddley said he thought that the trance-like rhythm he used in his rhythm and blues music came from the Sanctified churches he had attended as a youth in his Chicago neighborhood.[25] Career[] Inspired by a John Lee Hooker performance,[6] Diddley supplemented his income as a carpenter and mechanic by playing on street corners with friends,[26] including Jerome Green, in the Hipsters band, later renamed the Langley Avenue Jive Cats.[20] Green became a near-constant member of McDaniel's backing band, the two often trading joking insults with each other during live shows.[27][28] In the summers of 1943 and 1944, he played at the Maxwell Street market in a band with Earl Hooker.[29] By 1951 he was playing on the street with backing from Roosevelt Jackson on washtub bass and Jody Williams, who had played harmonica as a boy but took up guitar in his teens after he met Diddley at a talent show,[30] with Diddley teaching him some aspects of playing the instrument,[31] including how to play the bass line.[32] Williams later played lead guitar on "Who Do You Love?" (1956).[31][25] In 1951, he landed a regular spot at the 708 Club, on Chicago's South Side,[33] with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters.[26] In late 1954, he teamed up with harmonica player Billy Boy Arnold, drummer Clifton James and bass player Roosevelt Jackson and recorded demos of "I'm a Man" and "Bo Diddley". They re-recorded the songs at Universal Recording Corp. for Chess Records, with a backing ensemble comprising Otis Spann (piano), Lester Davenport (harmonica), Frank Kirkland (drums), and Jerome Green (maracas). The record was released in March 1955, and the A-side, "Bo Diddley", became a number one R&B hit.[34] Origins of stage name[] The origin of the stage name Bo Diddley is unclear. McDaniel claimed that his peers gave him the name, which he suspected was an insult.[35] Diddly is a truncation of diddly squat, which means "absolutely nothing".[36][37] Diddley also said that the name first belonged to a singer his adoptive mother knew. Harmonicist Billy Boy Arnold said that it was a local comedian's name, which Leonard Chess adopted as McDaniel's stage name and the title of his first single.[38] McDaniel also stated that his school classmates in Chicago gave him the nickname, which he started using when sparring and boxing in the neighborhood with The Little Neighborhood Golden Gloves Bunch.[39][40] In the 1921 story "Black Death", by Zora Neale Hurston, Beau Diddely was a womanizer who impregnates a young woman, disavows responsibility, and meets his undoing by the powers of the local hoodoo man. Hurston submitted it in a contest run by the academic journal Opportunity in 1925, where it won an honorable mention, but it was never published during her lifetime.[41][42] A diddley bow is a homemade single-string instrument that survived in the American Deep South,[43] especially in Mississippi. Played mainly by children,[44] the diddley bow in its simplest form was made by nailing a length of broom wire to the side of a house, using a rock placed under the string as a movable bridge, and played in the style of a bottleneck guitar, with various objects used as a slider.[45] The apparent consensus among scholars is that the diddley bow is derived from the monochord zithers of central Africa.[46] Diddley played his song "Bo Diddley" in one string fashion on the guitar, in the style of the children's instrument.[44] Success in the 1950s and 1960s[] On November 20, 1955, Diddley appeared on the popular television program The Ed Sullivan Show. According to legend, when someone on the show's staff overheard him casually singing "Sixteen Tons" in the dressing room, he was asked to perform the song on the show. One of Diddley's later versions of the story was that upon seeing "Bo Diddley" on the cue card, he thought he was to perform both his self-titled hit single and "Sixteen Tons".[47] Sullivan was furious and banned Diddley from his show, reputedly saying that he wouldn't last six months. Chess Records included Diddley's cover of "Sixteen Tons" on the 1963 album Bo Diddley Is a Gunslinger.[48] Diddley's hit singles continued in the 1950s and 1960s: "Pretty Thing" (1956), "Say Man" (1959), and "You Can't Judge a Book by the Cover" (1962). He also released numerous albums, including Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. These bolstered his self-invented legend.[27] Between 1958 and 1963, Checker Records released eleven full-length Bo Diddley albums. In the 1960s, he broke through as a crossover artist with white audiences (appearing at the Alan Freed concerts, for example),[27] but he rarely aimed his compositions at teenagers. Diddley was among those musicians who capitalized on the mid-1960s surfing and beach party craze in the United States, and released the albums Surfin' with Bo Diddley and Bo Diddley's Beach Party.[46] These featured heavy, distorted blues, played on his Gretsch guitar with bended notes and minor key riffs, unlike the clean, undistorted sounds of the Fender guitars used by the California surf bands. The cover of Surfin' with Bo Diddley had a photograph of two surfers riding a big wave.[49] In 1963, Diddley starred in a UK concert tour with the Everly Brothers and Little Richard along with the Rolling Stones (a little-known band at that time).[50] Diddley wrote many songs for himself and also for others.[51] In 1956, he and guitarist Jody Williams co-wrote the pop song "Love Is Strange", a hit for Mickey & Sylvia in 1957, reaching number 11 on the chart.[52] Mickey Baker claimed that he (Baker) and Bo Diddley's wife, Ethel Smith, wrote the song.[53] Diddley also wrote "Mama (Can I Go Out)", which was a minor hit for the pioneering rockabilly singer Jo Ann Campbell, who performed the song in the 1959 rock and roll film Go Johnny Go.[54] After moving from Chicago to Washington, D.C., Diddley built his first home recording studio in the basement of his home at 2614 Rhode Island Avenue NE. Frequented by several of Washington, D.C.'s musical luminaries, the studio was the site where he recorded the Checker LP (Checker LP-2977) Bo Diddley Is a Gunslinger.[55] Diddley also produced and recorded several up-and-coming groups from the Washington, D.C. area. One of the first groups he recorded was local doo-wop group the Marquees, featuring Marvin Gaye and baritone-bass Chester Simmons, who mooonlighted as Diddley's chauffeur.[56] The Marquees appeared in talent shows at the Lincoln Theatre, and Diddley, impressed by their smooth vocal delivery, let them rehearse in his studio. Diddley got the Marquees signed to Columbia subsidiary label OKeh Records after unsuccessfully attempting to get them a contract with his own label, Chess.[56] The OKeh label rivaled Chess in the promotion of rhythm and blues. On September 25, 1957, Diddley drove the group to New York City to record "Wyatt Earp", a novelty song written by Reese Palmer, lead singer of the Marquees. Diddley produced the session, with the group backed by his own band. They cut their first record, a single with "Wyatt Earp" on the A-side and "Hey Little School Girl" on the B-side,[57] but it failed to become a hit.[58] Diddley persuaded Moonglows founder and backing vocalist Harvey Fuqua to hire Gaye. Gaye joined the Moonglows as first tenor;[59] the group then moved to Detroit with the hope of signing with Motown Records[6] founder Berry Gordy Jr. Diddley included women in his band: Norma-Jean Wofford, also known as The Duchess; Gloria Jolivet; Peggy Jones, also known as Lady Bo, a lead guitarist (rare for a woman at that time); and Cornelia Redmond, also known as Cookie V.[60][61] Later years[] In early 1971, writer-musician Michael Lydon, a founding editor of Rolling Stone, conducted a lengthy, rambling interview of Diddley, at his then home in the San Fernando Valley, California. Lydon described him as a "protean genius" whose songs were "hymns to himself", and led the published piece with a Diddley quote: "Everything I know I taught myself."[62] Over the decades, Diddley's performing venues ranged from intimate clubs to stadiums. On March 25, 1972, he played with the Grateful Dead at the Academy of Music in New York City.[63] The Grateful Dead released part of this concert as Volume 30 of the band's concert album series, Dick's Picks. Also in the early 1970s, the soundtrack of the ground-breaking animated film Fritz the Cat contained his song "Bo Diddley", in which a crow dances[64] and finger-pops to the track.[65] Diddley spent some years in New Mexico, living in Los Lunas from 1971 to 1978, while continuing his musical career. He served for two and a half years as a deputy sheriff in the Valencia County Citizens' Patrol; during that time he purchased and donated three highway-patrol pursuit cars.[66] In the late 1970s, he left Los Lunas and moved to Hawthorne, Florida, where he lived on a large estate in a custom-made log cabin, which he helped to build. For the remainder of his life he divided his time between Albuquerque and Florida, living the last 13 years of his life in Archer, Florida,[67] a small farming town near Gainesville. In 1979, he appeared as an opening act for The Clash on their US tour.[68] In 1983, he made a cameo appearance as a Philadelphia pawn shop owner in the comedy film Trading Places.[69][70] He also appeared in George Thorogood's music video for the song "Bad to the Bone," portraying a guitar-slinging pool shark.[71] In 1985, he appeared on George Thorogood's set, alongside fellow blues legend Albert Collins, on the Live Aid American stage to perform Thorogood's popular cover of Diddley's song Who Do You Love?".[72] In 1989, Diddley and his management company, Talent Source,[73] entered into a licensing with the sportswear brand. The Wieden & Kennedy-produced commercial in the "Bo Knows" campaign teamed Diddley with dual sportsman Bo Jackson.[74] The agreement ended in 1991,[75] but in 1999, a T-shirt of Diddley's image and "You don't know diddley" slogan was purchased in a Gainesville, Florida, sports apparel store. Diddley felt that Nike should not continue to use the slogan or his likeness and fought Nike over the copyright infringement. Despite the fact that lawyers for both parties could not come to a renewed legal arrangement, Nike allegedly continued marketing the apparel and ignored cease-and-desist orders,[76] and a lawsuit was filed on Diddley's behalf, in Manhattan Federal Court.[77] Diddley played a blues and rock musician named Axman in the 1990 comedy film Rockula, directed by Luca Bercovici and starring Dean Cameron. In Legends of Guitar (filmed live in Spain in 1991), Diddley performed with Steve Cropper, B.B. King, Les Paul, Albert Collins, and George Benson, among others. He joined the Rolling Stones on their 1994 concert broadcast of Voodoo Lounge, performing "Who Do You Love?" at Joe Robbie Stadium, in Miami. In 1996, he released A Man Amongst Men, his first major-label album (and his final studio album) with guest artists like Keith Richards, Ron Wood and the Shirelles. The album earned a Grammy Award nomination in 1997 for the Best Contemporary Blues Album category.[51] Diddley performed a number of shows around the country in 2005 and 2006, with fellow Rock and Roll Hall of Famer Johnnie Johnson and his band, consisting of Johnson on keyboards, Richard Hunt on drums and Gus Thornton on bass. In 2006, he participated as the headliner of a grassroots-organized fundraiser concert to benefit the town of Ocean Springs, Mississippi, which had been devastated by Hurricane Katrina. The "Florida Keys for Katrina Relief" had originally been set for October 23, 2005, when Hurricane Wilma barreled through the Florida Keys on October 24, causing flooding and economic mayhem. In January 2006, the Florida Keys had recovered enough to host the fundraising concert to benefit the more hard-hit community of Ocean Springs. When asked about the fundraiser, Diddley stated, "This is the United States of America. We believe in helping one another". The all-star band included members of the Soul Providers, and famed artists Clarence Clemons of the E Street Band, Joey Covington of Jefferson Airplane, Alfonso Carey of The Village People, and Carl Spagnuolo of Jay & The Techniques.[78][79] In an interview with Holger Petersen, on Saturday Night Blues on CBC Radio in the fall of 2006,[80] he commented on racism in the music industry establishment during his early career. Diddley sold the rights to his songs early on, and until 1989 he received no royalties from the most successful part of his career.[81][82] His final guitar performance on a studio album was with the New York Dolls on their 2006 album One Day It Will Please Us to Remember Even This. He contributed guitar work to the song "Seventeen", which was included as a bonus track on the limited-edition version of the disc. In May 2007, Diddley suffered a stroke after a concert the previous day in Council Bluffs, Iowa.[83] Nonetheless, he delivered an energetic performance to an enthusiastic crowd. A few months later he had a heart attack.[84] While recovering, Diddley came back to his hometown of McComb, Mississippi, in early November 2007, for the unveiling of a plaque devoted to him on the Mississippi Blues Trail. This marked his achievements and noted that he was "acclaimed as a founder of rock-and-roll." He was not supposed to perform, but as he listened to the music of local musician Jesse Robinson, who sang a song written for this occasion, Robinson sensed that Diddley wanted to perform and handed him a microphone, the only time that he performed publicly after his stroke.[85] Personal life[] Marriages and children[] Bo Diddley was married four times. His first marriage, at 18, to Louise Willingham, lasted a year.[46] Diddley married his second wife Ethel Mae Smith in 1949; they had two children.[86] He met his third wife, Kay Reynolds, when she was 15, while performing in Birmingham, Alabama.[84] They soon moved in together and married, despite taboos against interracial marriage.[84] They had two daughters.[86] He married his fourth wife, Sylvia Paiz, in 1992; they were divorced at the time of his death.[84][46] Health problems[] On May 13, 2007, Diddley was admitted to intensive care in Creighton University Medical Center in Omaha, Nebraska, following a stroke after a concert the previous day in Council Bluffs, Iowa.[83] Starting the show, he had complained that he did not feel well. He referred to smoke from the wildfires that were ravaging south Georgia and blowing south to the area near his home in Archer, Florida. The next day, as he was heading back home, he seemed dazed and confused at the airport, and his manager, Margo Lewis, called 911 and airport security, and he was immediately taken by ambulance to Creighton University Medical Center where he stayed for several days. His manager, Margo Lewis, then flew him to Shands Hospital in Gainesville, FL, where it was confirmed that he had suffered a stroke. [87] Diddley had a history of hypertension and diabetes, and the stroke affected the left side of his brain, causing receptive and expressive aphasia (speech impairment).[88] The stroke was followed by a heart attack, which he suffered in Gainesville, Florida, on August 28, 2007.[84] Death[] Bo Diddley died on June 2, 2008, of heart failure at his home in Archer, Florida at the age of 79.[89][90] Grandson Garry Mitchell, his managers, Margo Lewis and Faith Fusillo, bass player and band leader, Debby Hastings, and many family members, were with him when he died at 1:45 am. EDT, at his home. His death was not unexpected. "There was a Gospel song that was sung, at his bedside, and when it was done, he opened his eyes, gave a thumbs up, and said, "Wow! I'm goin' to Heaven!" The song was 'Walk Around Heaven', and those were his last words."[91] He was survived by his children, Evelyn Kelly, Ellas A. McDaniel, Pamela Jacobs, Steven Jones, Terri Lynn McDaniel-Hines, and Tammi D. McDaniel; a brother, the Rev. Kenneth Haynes; and eighteen grandchildren, fifteen great-grandchildren and three great-great-grandchildren.[84] His funeral, a four-hour "homegoing" service, took place on June 7, 2008, at Showers of Blessings Church in Gainesville, Florida. Many in attendance chanted "Hey Bo Diddley" as members of Diddley's band played a subdued version of the song. A number of notable musicians sent flowers, including Little Richard, George Thorogood, Tom Petty and Jerry Lee Lewis. Little Richard, who had been asking his audiences to pray for Bo Diddley, throughout his illness, had to fulfill concert commitments in Westbury and New York City, the weekend of the funeral. He remembered Diddley at the concerts, performing his namesake tune. Eric Burdon, of The Animals, flew to Gainesville to attend the service.[92][93][94] After the funeral service, a tribute concert was held at the Martin Luther King Center in Gainesville, Florida, featuring guest performances by his son and daughter, Ellas A. McDaniel and Evelyn "Tan" Cooper; long-time background vocalist (and original Boette), Gloria Jolivet, and long-time bassist and bandleader, Debby Hastings, Eric Burdon, and former Bo Diddley & Offspring guitarist, Scott Free. In the days following his death, tributes were paid by then-President George W. Bush, the United States House of Representatives, and musicians and performers including B. B. King, Ronnie Hawkins, Mick Jagger, Ronnie Wood, George Thorogood, Eric Clapton, Tom Petty, Robert Plant, Elvis Costello, Bonnie Raitt, Robert Randolph and the Family Band and Eric Burdon. Burdon used video footage of the McDaniel family, and friends in mourning, for a video promoting his ABKCO Records release "Bo Diddley Special".[citation needed] Hastings is quoted as having said, "He was the rock that the roll was built on." In November 2009, the guitar used by Bo Diddley in his final stage performance sold for $60,000 at auction.[95] In 2019, members of Bo Diddley's family sued to regain control of the music catalog held in trust by attorney Charles Littell. The family was successful in appointing a new trustee, music industry veteran Kendall Minter.[96] The family was represented by Charles David of Florida Probate Law Group in the 2019 lawsuit.[97][98] Accolades[] Bo Diddley was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music. In its People in America radio series, about influential people in American history, the Voice of America radio service paid tribute to him, describing how "his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him." Mick Jagger stated that "he was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones. He was very generous to us in our early years and we learned a lot from him". Jagger also praised the late star as a one-of-a-kind musician, adding, "We will never see his like again".[99] The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley's last on-camera interview.[100] He achieved numerous accolades in recognition of his significant role as one of the founding fathers of rock and roll. 1986: Inducted into the Washington Area Music Association's Hall of Fame. 1987: Inducted into the Rock and Roll Hall of Fame[6] 1987: Inducted into the Rockabilly Hall of Fame 1990: Lifetime Achievement Award from Guitar Player magazine 1996: Lifetime Achievement Award from the Rhythm and Blues Foundation 1998: Grammy Lifetime Achievement Award[10] 1999: His 1955 recording of his song "Bo Diddley" inducted into the Grammy Hall of Fame[101] 2000: Inducted into the Mississippi Musicians Hall of Fame[102] 2000: Inducted into the North Florida Music Association's Hall of Fame 2002: Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters 2002: Honored as one of the first BMI Icons at the 50th annual BMI Pop Awards, along with BMI affiliates Chuck Berry and Little Richard.[103] 2003: Inducted into the Blues Hall of Fame[8] 2008: Honorary Doctor of Fine Arts degree posthumously conferred on Diddley by the University of Florida in August (the award had been confirmed before his death in June). 2020: Induction into the Florida Artists Hall of Fame 2010: Induction into the Hit Parade Hall of Fame.[104] 2017: Inducted into the Rhythm and Blues Music Hall of Fame.[9] 2021: Inducted into the New Mexico Music Hall of Fame. In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives, describing him as "one of the true pioneers of rock and roll, who has influenced generations".[105] In 2004, Mickey and Sylvia's 1956 recording of "Love Is Strange" (a song first recorded by Bo Diddley but not released until a year before his death) was inducted into the Grammy Hall of Fame as a recording of qualitative or historical significance. Also in 2004, Bo Diddley was inducted into the Blues Foundation's Blues Hall of Fame and was ranked number 20 on Rolling Stone magazine's list of the 100 Greatest Artists of All Time.[106] In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe and with coast-to-coast shows across North America. He performed his song "Bo Diddley" with Eric Clapton and Robbie Robertson at the Rock and Roll Hall of Fame's 20th annual induction ceremony. In the UK, Uncut magazine included his 1957 debut album, Bo Diddley, in its listing of the '100 Music, Movie & TV Moments That Have Changed the World'. Bo Diddley was honored by the Mississippi Blues Commission with a Mississippi Blues Trail historic marker placed in McComb, his birthplace, in recognition of his enormous contribution to the development of the blues in Mississippi.[107] On June 5, 2009, the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the Bo Diddley Community Plaza. The plaza was the site of a benefit concert at which Bo Diddley performed to raise awareness about the plight of the homeless in Alachua County and to raise money for local charities, including the Red Cross. Beat[] Main article: Bo Diddley beat The "Bo Diddley beat" is essentially the clave rhythm, one of the most common bell patterns found in sub-Saharan African music traditions.[108] One scholar found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948.[109] Bo Diddley gave different accounts of how he began to use this rhythm. Ned Sublette says, "In the context of the time, and especially those maracas [heard on the record], 'Bo Diddley' has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only 'Rhumba' on the track sheets."[110] The Bo Diddley beat is similar to "hambone", a style used by street performers who play out the beat by slapping and patting their arms, legs, chest, and cheeks while chanting rhymes.[111] Somewhat resembling the "shave and a haircut, two bits" rhythm, Diddley came across it while trying to play Gene Autry's "(I've Got Spurs That) Jingle, Jangle, Jingle".[112] Three years before his "Bo Diddley", a song with similar syncopation "Hambone", was cut by the Red Saunders Orchestra with the Hambone Kids. In 1944, "Rum and Coca Cola", containing the Bo Diddley beat, was recorded by the Andrews Sisters. Buddy Holly's "Not Fade Away" (1957) and Them's "Mystic Eyes" (1965) used the beat.[113] In its simplest form, the Bo Diddley beat can be counted out as either a one-bar or a two-bar phrase. Here is the count as a one-bar phrase: One e and ah, two e and ah, three e and ah, four e and ah (the boldface counts are the clave rhythm). Many songs (for example, "Hey Bo Diddley" and "Who Do You Love?") often have no chord changes; that is, the musicians play the same chord throughout the piece, so that the rhythms create the excitement, rather than having the excitement generated by harmonic tension and release. In his other recordings, Bo Diddley used various rhythms, from straight back beat to pop ballad style to doo-wop, frequently with maracas by Jerome Green.[114] His 1955 rhythm and blues hit, "Bo Diddley", had a "driving African rhythm and ham-bone beat".[115] Beginning that same year, Diddley collaborated with various doo-wop vocal groups, using the Moonglows as a backing group on his first album, Bo Diddley, released in 1958. In one of the most well-known of his 1958 doo-wop sessions, Diddley added harmonies by the Carnations recording as the Teardrops, who sang smooth, polished doo-wop in the backgrounds on the songs "I'm Sorry", "Crackin' Up", and "Don't Let it Go".[20] An influential guitar player, Bo Diddley developed many special effects and other innovations in tone and attack, particularly the "shimmering" tremolo sound,[12][116] and amp reverb. His trademark instrument was his self-designed, one-of-a-kind, rectangular-bodied "Twang Machine" (referred to as "cigar-box shaped" by music promoter Dick Clark), built by Gretsch. He had other uniquely shaped guitars custom-made for him by other manufacturers throughout the years, most notably the "Cadillac" and the rectangular "Turbo 5-speed" (with built-in envelope filter, flanger and delay) designs, made by Tom Holmes (who also made guitars for ZZ Top's Billy Gibbons, among others). In a 2005 interview on JJJ radio in Australia, he implied that the rectangular design sprang from an embarrassing moment. During an early gig, while jumping around on stage with a Gibson L5 guitar, he landed awkwardly, hurting his groin.[117][118] He then went about designing a smaller, less-restrictive guitar that allowed him to keep jumping around on stage while still playing his guitar. He also played the violin, which is featured on his mournful instrumental "The Clock Strikes Twelve", a twelve-bar blues.[119] Diddley often created lyrics as witty and humorous adaptations of folk music themes. His first hit, "Bo Diddley", was based on hambone rhymes.[120] The first line of his song "Hey Bo Diddley" is derived from the nursery rhyme "Old MacDonald".[121] The song "Who Do You Love?" with its rap-style boasting, and his use of the African-American game known as "the dozens" on the songs "Say Man" and "Say Man, Back Again," are cited as progenitors of hip-hop music;[122] for example, in the dialogue of the song, "Say Man", percussionist Jerome Green says the lines: "You've got the nerve to call somebody ugly. Why, you so ugly till the stork that brought you in the world oughta be arrested."[120] Discography[] Main article: Bo Diddley discography Studio albums[] <templatestyles src="Div col/styles.css"/> Collaborations[] Chuck Berry Is on Top, with Chuck Berry (Chess, 1959) Two Great Guitars, with Chuck Berry (Checker, 1964) Super Blues, with Muddy Waters and Little Walter (Checker, 1967) The Super Super Blues Band, with Muddy Waters and Howlin' Wolf (Checker, 1968) Chart singles[] Year Single Chart Positions US Pop[124] US R&B[125] UK[126] 1955 "Bo Diddley" / "I'm a Man" - 1 - "Diddley Daddy" - 11 - 1956 "Pretty Thing" – 4 34 (in 1963) 1959 "I'm Sorry" – 17 – "Crackin Up" 62 14 – "Say Man" 20 3 – "Say Man, Back Again" – 23 – 1960 "Road Runner" 75 20 – 1962 "You Can't Judge a Book by the Cover" 48 21 – 1965 "Hey Good Lookin'" – – 39 1967 "Ooh Baby" 88 17 – Notes[] References[] Books[] Arsicaud, Laurent (2012). Bo Diddley, Je suis un homme. Camion Blanc editions. White, George R. (1995), Living Legend. Sanctuary Publishing. [] Official website Template:Pop Chronicles Bo Diddley at the Internet Movie Database Template:Rockhall Template:Bo Diddley Template:1987 Rock and Roll Hall of Fame
correct_death_00084	FactBench	1	19	https://www.ocala.com/story/news/state/2008/06/08/bo-diddley-gets-a-rocking-send-off/31249859007/	en	Bo Diddley gets a rocking send-off	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/2008/06/08/NOSB/ghows-LK-515e78cd-4b5d-4455-9506-f25aa21d6e66-86dfc654.jpeg?crop=741,557,x0,y21?width=320&height=240" ]	[]	[]	[ "" ]	null	[ "BILL DEAN THE GAINESVILLE SUN, The Star Banner" ]	2008-06-08T00:00:00	In one his best-known songs from the 1950s, Bo Diddley once proclaimed himself \	en	https://www.gannett-cdn.…ages/favicon.png	Ocala Star-Banner	https://www.ocala.com/story/news/state/2008/06/08/bo-diddley-gets-a-rocking-send-off/31249859007/	GAINESVILLE — In one his best-known songs from the 1950s, Bo Diddley once proclaimed himself "I'm a Man." But at his funeral Saturday and at a musical celebration in his honor Saturday night, he was lionized as a friend, legend, benefactor and family member. Diddley, whose real name was Ellas Bates McDaniel, also was saluted earlier in the day with a parade and festival renamed after him, Yulee Diddley Day, in Archer, where he had lived for more than 20 years. At Diddley's funeral, with hundreds in attendance, not only was Saturday declared "Bo Diddley Day" by Alachua County, the cities of Archer and Gainesville and other entities, but Gainesville Mayor Pegeen Hanharan unveiled plans to rename in Diddley's honor the Downtown Community Plaza, where Diddley had performed on numerous occasions, the last being in 2006. "He is by far the most talented musician who had ever played the Downtown Plaza and he it did for nothing," Hanrahan said during the service. At Diddley's funeral at the Showers of Blessings Harvest Center in Gainesville, proclamations, stories and songs flowed in a service that was part funeral, part celebration and part American music lesson, with emotions ranging from rousing to tear-inducing. "This is the homecoming of a great man, a legend who touched many hearts around the globe," Karl Anderson, who served as the funeral's master of ceremonies, told the crowd. As the building filled with family, friends and fans of the longtime Archer resident, the choir from his church, the Archer Church of God in Christ, began leading refrains of the famous Diddley song bearing his name, singing "Hey, Bo Diddley!" with the crowd answering back: "Hey, Bo Diddley!" Once the service began, Anderson spared little time before mentioning "the syncopated beat they named after him" and defining Diddley's place in popular music. "Whereas James Brown took it to the bridge, Bo Diddley took it all the way," Anderson said before introducing speakers, friends and dignitaries who ranged from Diddley's sole surviving sibling, his brother Kenneth Haynes, to Alachua County Commissioner Rodney Long, Gainesville Mayor Hanrahan and Archer Mayor Laurie Costello, among many others. "His syncopated rhythm has been used by countless musicians since he created it in the 1950s," Long said. "So to the family, we thank you for sharing this man with the entire world," Long said to Diddley's family members sitting in the front rows. Among them were Diddley's four children, 15 grandchildren and 15 great-grandchildren. Diddley's presence and legacy as a literal co-creator of rock 'n' roll was so strong and palpable during the service that, as Anderson told the crowd, no one dared play the guitar in the band assembled at the pulpit. "There's drums, bass, synthesizers, organ and piano but no lead and rhythm guitar, because no one wants to come in here and compete with Bo," he said. Mountains of flowers around his casket were so vast that their peaks of red, green, white and yellow nearly obscured the view of Diddley's casket. Among the arrangements were one from Tom Petty and the Heartbreakers of orange roses, lillies and feathers, and others from guitarist Jimmie Vaughan, singer-guitarist George Thorogood, the Rock and Roll Hall of Fame and not one - but two - life-sized flower arrangements of Diddley's box-shaped guitar in red roses and carnations.
correct_death_00084	FactBench	0	55	https://read-the-plaque.appspot.com/plaque/bo-diddley2	en	Read the Plaque	http://lh3.googleusercontent.com/mhfHw5s3VVK-fOhTxBI39zsSivm4OqoRNzip4Tok1H1WWphuACivSkKudLJ2tMd1BdoBOkM8FoCjwUtmj5DRq9fV4QeqXiCKNoC7Ag6E5w	http://lh3.googleusercontent.com/mhfHw5s3VVK-fOhTxBI39zsSivm4OqoRNzip4Tok1H1WWphuACivSkKudLJ2tMd1BdoBOkM8FoCjwUtmj5DRq9fV4QeqXiCKNoC7Ag6E5w	[ "http://lh3.googleusercontent.com/mhfHw5s3VVK-fOhTxBI39zsSivm4OqoRNzip4Tok1H1WWphuACivSkKudLJ2tMd1BdoBOkM8FoCjwUtmj5DRq9fV4QeqXiCKNoC7Ag6E5w", "https://read-the-plaque.appspot.com/images/rss.gif", "https://i.creativecommons.org/l/by/4.0/88x31.png" ]	[]	[]	[ "" ]	null	[]	null	FrontAcclaimed as the father of rock and roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as "I'm A Man", "Bo Diddley', "Say Man" and "I'm a Roadrunner". The distinctive rhythm of his "Bo Diddley" beat and his pioneering use of electronic distortion were widely influential. His song have been covered by Buddy Holly, the Rolling Stones, The Who and Eric Clapton among many others.RearBo Diddley, one of the most unconventional yet influential figures in the history of American popular music, lived his early years in Pike and Amite counties. According to the 1930 census, his name as a two-year-old was Ellis [sic] Landry; his mother, Ethel Wilson, was living at the time with her cousin, Eugene Bates (the man Diddley believed to be his father). Diddley used the surname Bates until his mother's cousin Gussie McDaniel began raising him. In McComb the McDaniel family lived on Carver Street, near Highway 51; they moved to Chicago in the mid-1930s. There Diddley took up the violin, and at age twelve received his first guitar. His unique approach to guitar, he recalled, stemmed largely from his attempts to imitate the sound of a bow on a violin. As a teen he began playing for tips on the streets and eventually in clubs with groups that included blues recording artists Jody Williams and Billy Boy Arnold. To achieve his own sound Diddley rebuilt guitar amplifiers and constructed a tremolo unit out of a clock spring and automobile parts, and enhanced the group’s rhythm by adding maracas and drums.In 1955 Diddley made his first single for Chicago’s Checker Records. Both sides were hits: I’m A Man was a bold declaration of pride at a time when many whites referred to an African American man derogatorily as “boy,” and was covered by Muddy Waters as Mannish Boy, while the flip side, Bo Diddley, spotlighted his trademark beat, which was similar to a traditional African American slapping rhythm known as “hambone.” Diddley said he traced his variation back to Pentecostal church services, and his younger brother, the Reverend Kenneth Haynes, recalled Bo singing the rhythm as a child. The name “Bo Diddley” was used by various black vaudeville performers prior to his birth, and was suggested as a more colorful stage name than Ellas McDaniel when he recorded.Diddley, Fats Domino, Little Richard and Chuck Berry were among the few African American artists to achieve crossover stardom in the 1950s rock ’n’ roll market, and many bands adopted Diddley’s songs and beat. Diddley’s guitar sound became part of the basic vocabulary of rock, influencing guitarists including Link Wray, Jimi Hendrix, Led Zeppelin’s Jimmy Page, and the Who’s Pete Townsend, while his later funk recordings have been sampled by hip hop artists such as De la Soul and Method Man. A member of both the Blues and Rock and Roll Halls of Fame, Diddley received Lifetime Achievement Awards from the Rhythm & Blues Foundation and the National Academy of Recording Arts & Sciences, as well as a Mississippi Governor's Award for Excellence in the Arts. He died at his home in Archer, Florida, on June 2, 2008.		/images/favicon.ico	Read the Plaque	https://readtheplaque.com/plaque/bo-diddley2	Front Acclaimed as the father of rock and roll, Bo Diddley (Ellas Bates McDaniel) was born near Magnolia, south of McComb, on December 30, 1928. Diddley wrote and recorded such hits as "I'm A Man", "Bo Diddley', "Say Man" and "I'm a Roadrunner". The distinctive rhythm of his "Bo Diddley" beat and his pioneering use of electronic distortion were widely influential. His song have been covered by Buddy Holly, the Rolling Stones, The Who and Eric Clapton among many others. Rear Bo Diddley, one of the most unconventional yet influential figures in the history of American popular music, lived his early years in Pike and Amite counties. According to the 1930 census, his name as a two-year-old was Ellis [sic] Landry; his mother, Ethel Wilson, was living at the time with her cousin, Eugene Bates (the man Diddley believed to be his father). Diddley used the surname Bates until his mother's cousin Gussie McDaniel began raising him. In McComb the McDaniel family lived on Carver Street, near Highway 51; they moved to Chicago in the mid-1930s. There Diddley took up the violin, and at age twelve received his first guitar. His unique approach to guitar, he recalled, stemmed largely from his attempts to imitate the sound of a bow on a violin. As a teen he began playing for tips on the streets and eventually in clubs with groups that included blues recording artists Jody Williams and Billy Boy Arnold. To achieve his own sound Diddley rebuilt guitar amplifiers and constructed a tremolo unit out of a clock spring and automobile parts, and enhanced the group’s rhythm by adding maracas and drums. In 1955 Diddley made his first single for Chicago’s Checker Records. Both sides were hits: I’m A Man was a bold declaration of pride at a time when many whites referred to an African American man derogatorily as “boy,” and was covered by Muddy Waters as Mannish Boy, while the flip side, Bo Diddley, spotlighted his trademark beat, which was similar to a traditional African American slapping rhythm known as “hambone.” Diddley said he traced his variation back to Pentecostal church services, and his younger brother, the Reverend Kenneth Haynes, recalled Bo singing the rhythm as a child. The name “Bo Diddley” was used by various black vaudeville performers prior to his birth, and was suggested as a more colorful stage name than Ellas McDaniel when he recorded. Diddley, Fats Domino, Little Richard and Chuck Berry were among the few African American artists to achieve crossover stardom in the 1950s rock ’n’ roll market, and many bands adopted Diddley’s songs and beat. Diddley’s guitar sound became part of the basic vocabulary of rock, influencing guitarists including Link Wray, Jimi Hendrix, Led Zeppelin’s Jimmy Page, and the Who’s Pete Townsend, while his later funk recordings have been sampled by hip hop artists such as De la Soul and Method Man. A member of both the Blues and Rock and Roll Halls of Fame, Diddley received Lifetime Achievement Awards from the Rhythm & Blues Foundation and the National Academy of Recording Arts & Sciences, as well as a Mississippi Governor's Award for Excellence in the Arts. He died at his home in Archer, Florida, on June 2, 2008.
correct_death_00084	FactBench	0	96	https://www.nearfantastica.com/bored/topic/11023-the-death-of-bo-diddley/	en	The Death Of Bo Diddley			[ "https://www.nearfantastica.com/bored/uploads/monthly_2019_03/5_nflogo-transparent.png.70d593cace6fdf742e659be512d6a029.png", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1672.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1672.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1672.jpg", "https://www.nearfantastica.com/bored/uploads/monthly_2018_04/love.gif.c5dbffb5aa8ad9e9d39944619637b4f5.gif", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1208.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1208.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-2612.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-2612.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-717.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-717.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1672.jpg", "https://www.nearfantastica.com/bored/uploads/profile/photo-thumb-1672.jpg", "https://www.nearfantastica.com/bored/uploads/monthly_2018_04/love.gif.c5dbffb5aa8ad9e9d39944619637b4f5.gif", "https://www.nearfantastica.com/bored/uploads/set_resources_10/84c1e40ea0e759e3f1505eb1788ddf3c_default_photo.png" ]	[]	[]	[ "" ]	null	[ "bishopx" ]	2008-06-02T17:54:29+00:00	Rock pioneer Bo Diddley dies at age 79 By RON WORD, Associated Press Writer 17 minutes ago JACKSONVILLE, Fla. - Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday af...	en	https://www.nearfantastica.com/bored/uploads/monthly_2021_01/favicon.ico	The Bored	https://www.nearfantastica.com/bored/topic/11023-the-death-of-bo-diddley/	Rock pioneer Bo Diddley dies at age 79 By RON WORD, Associated Press Writer 17 minutes ago JACKSONVILLE, Fla. - Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79. Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation. The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton. Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook." "If you ain't got no money, ain't nobody calls you honey," he quipped. The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview. "I don't know where the kids got it, but the kids in grammar school gave me that name," he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow. His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard. The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars. Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley's Chess recordings "stand among the best singular recordings of the 20th century." Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule." Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away." The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of "I'm a Man." Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself. "He treats it like it was a drum, very rhythmic," E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006. Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley's style. Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations. "I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after." "They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said. Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida. "Seventy ain't nothing but a damn number," he told The Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet." Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances. "I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun." In the early 1950s, Diddley said, disc jockeys called his type of music, "Jungle Music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll." Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat." Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Diddley turned to the camera and said, "He don't know Diddley." "I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube." Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother's cousin and took on the name Ellis McDaniel, which his wife always called him. When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners. By his early teens, Diddley was playing Chicago's Maxwell Street. "I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said.
correct_death_00084	FactBench	0	79	https://www.hollywoodreporter.com/business/business-news/rampb-icon-helped-lay-foundation-113017/	en	R&B icon helped lay foundation of rock	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/20cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/20cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/GettyImages-2159867287-1.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2022/03/Hollywoodlandmarks20210307_0019Finals-H-2022.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/01/GettyImages-1478245437-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2023/10/NFLX.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/07/GettyImages-1958253298.jpg?crop=0px%2C0px%2C5198px%2C2909px&resize=260%2C150", "https://www.hollywoodreporter.com/wp-content/uploads/2024/02/2024-IATSE_teamsters-04_H.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Erik Pedersen", "The Associated Press" ]	2008-06-03T05:00:00+00:00	Bo Diddley, the rock 'n' roll originator whose signature "hambone" beat was repurposed by legions of acts from Buddy Holly and the Rolling Stones to Bruce Springsteen and U2, died Monday at his home in Archer, Fla.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/business/business-news/rampb-icon-helped-lay-foundation-113017/	Bo Diddley, the rock ‘n’ roll originator whose signature “hambone” beat was repurposed by legions of acts from Buddy Holly and the Rolling Stones to Bruce Springsteen and U2, died Monday at his home in Archer, Fla. He was 79. Diddley had a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation. Although he never attained the commercial success of many of his contemporaries, Diddley’s status as one of rock’s founding fathers is unquestioned. He helped create the sound by pushing R&B to untested limits in the early 1950s. The “Bo Diddley beat” — CHINK-a-chink-a-CHINK, a CHINK-CHINK — was his signature sound, deployed on such early classics as “Bo Diddley” and “Who Do You Love.” Future rock staples that borrowed the beat include Holly’s widely covered “Not Fade Away,” the Who’s “Magic Bus” and Springsteen’s “She’s the One.” Born Ellas Otha Bates on Dec. 30, 1928, in McComb, Miss., Diddley was adopted by his mother’s cousin into a sharecropping family and took the name Ellis McDaniel. He moved with them at age 5 to Chicago, where he learned guitar at 10 and was playing on Maxwell Street by his early teens. At 15, he built the first rectangular guitar, which became his trademark along with black hat and dark shades. The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview. “I don’t know where the kids got it, but the kids in grammar school gave me that name,” he said. Other times, he gave somewhat differing stories on where he got the moniker. Some say it came from his days as a Golden Gloves boxer, and a “diddley bow” is a one-stringed African guitar used in traditional music. Signed by Leonard Chess to his Checker label in summer 1955 and later recording for Chess Records, Diddley was a mainstay on the R&B charts with such hits as the macho anthem “I’m a Man” and “Say Man.” The latter, a verbal sparring session with longtime sidekick Jerome Green, became Diddley’s biggest crossover hit, peaking at No. 20 in 1959. His only other visit to the pop top 50 was “You Can’t Judge a Book by the Cover,” taken from his eponymous 1962 album, his only one to make the Billboard 200, topping at No. 117. Diddley’s legacy was further cemented when R&B-crazed British Invasion bands began bringing his influence into the mainstream. The Rolling Stones’ Britblues remake of “Not Fade Away” was their first U.S. single. Other popular bands followed with takes on Diddley’s songs, including the Yardbirds (“I’m a Man”), the Kinks (“Cadillac”) and Manfred Mann (“Bring It to Jerome”). Diddley also was one of the pioneers of the electric guitar, adding reverb and tremelo effects. “He treats it like it was a drum, very rhythmic,” music professor E. Michael Harrington at Belmont University in Nashville said in 2006. Diddley won attention from a new generation in 1989 when he took part in the “Bo Knows” ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson’s flailing guitar skills, Diddley turned to the camera and said, “He don’t know Diddley.” Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Like other artists of his generation, he was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances. “I am owed. I’ve never got paid,” he said. “A dude with a pencil is worse than a cat with a machine gun.” Partly as a result of the lack of royalties, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville, Fla. He was inducted into the Rock and Roll Hall of Fame with its sophomore class in 1987. Although he never won a Grammy, Diddley received a lifetime achievement award in 1998; the same year, his single “Bo Diddley” was inducted into the Grammy Hall of Fame. The Associated Press contributed to this report.
correct_death_00084	FactBench	0	5	https://virtualglobetrotting.com/map/bo-diddleys-house-former/view/google/	en	Bo Diddley's House (former) in Archer, FL (Google Maps)	https://c2.vgtstatic.com…house-former.jpg	https://c2.vgtstatic.com…house-former.jpg	[ "https://o.vgtstatic.com/images/logo-small-374x44.png", "https://c2.vgtstatic.com/thumbll/4/6/46732-v2-half/bo-diddleys-house-former.jpg", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://c2.vgtstatic.com/thumbll/4/6/46732-v2-half/bo-diddleys-house-former.jpg", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://o.vgtstatic.com/images/t.gif", "https://c1.vgtstatic.com/thumb/1/3/139529-v1-half/bronson-speedway.jpg", "https://c1.vgtstatic.com/thumb/9/8/98244-v1-half/in-flight-3.jpg", "https://c2.vgtstatic.com/thumbll/6/9/69256-v1-half/maddox-foundry.jpg", "https://c1.vgtstatic.com/thumb/1/4/147900-v1-half/maddox-foundry-3.jpg", "https://c1.vgtstatic.com/thumb/1/7/174611-v1-half/first-strike-paintball.jpg", "https://c1.vgtstatic.com/thumb/2/6/268441-v1-half/katie-ledeckys-house.jpg", "https://c1.vgtstatic.com/thumb/2/7/272482-v1-half/percy-harvins-house-3.jpg", "https://c2.vgtstatic.com/thumbll/1/0/103620-v1-half/jeffery-t-marshalls-house.jpg", "https://c1.vgtstatic.com/thumb/1/5/154405-v2-half/will-muschamps-house.jpg", "https://c2.vgtstatic.com/thumbll/2/7/271876-v1-half/mike-petersons-house-1.jpg", "https://c1.vgtstatic.com/thumb/1/6/168321-v1-half/welcome-to-historic-williston.jpg", "https://c1.vgtstatic.com/thumb/3/9/39982-v1-half/williston-airport.jpg", "https://o.vgtstatic.com/images/t.gif", "https://c1.vgtstatic.com/thumb/1/3/139529-v1-half/bronson-speedway.jpg", "https://c1.vgtstatic.com/thumb/9/8/98244-v1-half/in-flight-3.jpg", "https://c2.vgtstatic.com/thumbll/6/9/69256-v1-half/maddox-foundry.jpg", "https://c1.vgtstatic.com/thumb/1/4/147900-v1-half/maddox-foundry-3.jpg", "https://c1.vgtstatic.com/thumb/1/7/174611-v1-half/first-strike-paintball.jpg", "https://c1.vgtstatic.com/thumb/2/6/268441-v1-half/katie-ledeckys-house.jpg", "https://c1.vgtstatic.com/thumb/2/7/272482-v1-half/percy-harvins-house-3.jpg", "https://c2.vgtstatic.com/thumbll/1/0/103620-v1-half/jeffery-t-marshalls-house.jpg", "https://c1.vgtstatic.com/thumb/1/5/154405-v2-half/will-muschamps-house.jpg", "https://c2.vgtstatic.com/thumbll/2/7/271876-v1-half/mike-petersons-house-1.jpg", "https://c1.vgtstatic.com/thumb/1/6/168321-v1-half/welcome-to-historic-williston.jpg", "https://c1.vgtstatic.com/thumb/3/9/39982-v1-half/williston-airport.jpg" ]	[]	[]	[ "" ]	null	[ "virtualglobetrotting.com" ]	2008-06-04T20:00:36-04:00	Bo Diddley's House (former) (Google Maps). The influential rock and roll singer, songwriter, and guitarist lived here. He died on June 2, 2008 at...	en	https://o.vgtstatic.com/…h-icon-57x57.png	Virtual Globetrotting	https://virtualglobetrotting.com/map/bo-diddleys-house-former/view/google/	The influential rock and roll singer, songwriter, and guitarist lived here. He died on June 2, 2008 at this home surrounded by his family. Homes - Celebrity - Entertainment - Musicians, Homes - Celebrity - Former Links: en.wikipedia.org By: tlp333
correct_death_00084	FactBench	3	94	https://www.arkansasonline.com/news/2008/jun/10/critical-mass-bo-diddleys-primal-beat-eng-20080610/	en	CRITICAL MASS: Bo Diddley's primal beat engraved on rock 'n' roll	https://wehco.media.clie…t/ADG_fb_alt.png	https://wehco.media.clie…t/ADG_fb_alt.png	[ "https://wehco.media.clients.ellingtoncms.com/static-4/ao_redesign/dist/img/adg-logo-white-alt.svg", "https://media.arkansasonline.com/static/ao_redesign/dist/img/adg-logo.svg" ]	[]	[]	[ "" ]	null	[ "Philip Martin" ]	2008-06-10T00:00:00	Bo Diddley, who died June 2 at age 79, understood that he was owed. Like a lot of the original generation of rock 'n' rollers, he received a flat fee for his recording sessions.	en	https://wehco.media.clie…e-icon-57x57.png		https://www.arkansasonline.com/news/2008/jun/10/critical-mass-bo-diddleys-primal-beat-eng-20080610/	— A dude with a pencil is worse than a cat with a machine gun. - Bo Diddley Bo Diddley, who died June 2 at age 79, understood that he was owed. Like a lot of the original generation of rock 'n' rollers, he received a flat fee for his recording sessions. He never got a penny in royalties for some of his songs. All the obituaries published last week mentioned Bo's complaint, the millions that were diverted from him by the stroke of a pen. Maybe you could look at it a different way, if you're determined not to be sentimental. You could point out he was a full-grown man - spell that M-A-N - when he signed away those rights, and that it happened before anybody knew there was real money in rock 'n' roll anyway.
correct_death_00084	FactBench	3	82	https://www.vintagerockmag.com/2024/05/rocknroll-heroes-bo-diddley/	en	Rock’n’Roll Heroes – Bo Diddley	https://www.vintagerockm…5/bo_diddley.jpg	https://www.vintagerockm…5/bo_diddley.jpg	[ "https://www.facebook.com/tr?id=128359322591028&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=247304019164087&ev=PageView&noscript=1", "https://www.vintagerockmag.com/wp-content/uploads/2020/03/vintagerock.png", "https://www.vintagerockmag.com/wp-content/themes/authentic/dist/img/logo-navbar-dark.png", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/bo_diddley-1100x848.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/Album_Bo-Diddley-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/957965b1cfff1b14b2bff930c50026c0.1000x1000x1-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/Bo-Diddley-Have-Guitar-Will-Travel-Album-Cover-web-730.jpg-copy-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/COVER-300x302.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/bo-diddley-is-a-gunslinger-copy-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/Bo-Diddley-Is-A-Lover-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/bo-diddley-rides-again-uk-vinyl-lp-album-record-npl28029-727489_1024x1024.jpg-copy-300x300.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/Debby-Hastings-1.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/A-Man-Amongst-Men--300x299.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/05/LAST-BAND-PICTURE-by-BOBBY-LEVINS.jpeg", "https://176.32.230.21/vintagerockmag.com/wp-content/uploads/2020/03/avatar.png", "https://www.vintagerockmag.com/wp-content/uploads/2021/02/FABIAN-530x461.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2024/03/June2020_Photoby_RUSSELLDEWING-530x640.jpeg", "https://www.vintagerockmag.com/wp-content/uploads/2021/03/Screenshot-2021-03-03-at-08.01.36-530x640.png", "https://www.vintagerockmag.com/wp-content/uploads/2022/11/reet-petite-530x600.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2022/06/71ppudUe1YL._AC_SL1427_-530x640.jpg", "https://www.vintagerockmag.com/wp-content/uploads/2022/01/logo-anthem-white.png", "https://www.vintagerockmag.com/wp-content/uploads/2020/03/icon-facebook-white.png", "https://www.vintagerockmag.com/wp-content/uploads/2020/03/icon-twitter-white.png", "https://www.vintagerockmag.com/wp-content/uploads/2020/03/anthem-logo-white.png" ]	[ "https://www.youtube.com/embed/yeZHB3ozglQ?feature=oembed", "https://www.youtube.com/embed/zRj9KiE9hS0?feature=oembed" ]	[]	[ "" ]	null	[ "Dan Biggane" ]	2024-05-30T14:48:56+00:00	It’s absurd that Bo Diddley often gets overlooked when celebrating the trailblazers of rock'n'roll. Vintage Rock rights that wrong by paying tribute to 'The Originator'	en		Vintage Rock	https://www.vintagerockmag.com/2024/05/rocknroll-heroes-bo-diddley/	When namechecking the trailblazers of rock’n’roll it’s absurd that Bo Diddley far too often gets overlooked. Vintage Rock rights that wrong by joining his last band leader and bassist, Debby Hastings, in paying tribute to ‘The Originator’… In the autumn of 1963, promoter Don Arden compiled a dream rock’n’roll package tour for UK fans when he teamed up headliners The Everly Brothers and Little Richard with a fledgling Rolling Stones and the pioneering powerhouse Bo Diddley. Performing for audiences on British soil for the first time, the larger-than-life character famed for his splendid self-referential songs and radical rectangular guitars, had already gifted the world a legendary hambone beat that changed music forever. ‘The Originator’ would go on to be a regular visitor throughout the 80s, 90s and into the 2000s alongside his sidekick bassist and band leader Debby Hastings. His last trip here was two shows at Camden’s Jazz Café in July 2006, just two years before he passed away on 2 June 2008. “The first time I came to England, Keith Richards and Mick Jagger and all of those guys here treated me like a king,” Diddley told Mojo magazine in 2002. “People who say, ‘Oh, Bo Diddley’s the king of rock’n’roll’, I tell them right quick, ‘I’m not a king, baby, but I’m good. Real good.’ I feel like I’m a monument in my own time.” Hey! Bo Diddley Diddley was born Ellas Bates in McComb, Mississippi, to Ethel Wilson and Eugene Bates on 30 December 1928. His biological mother was only 16 years old at the time and placed baby Bo in the care of her cousin, Gussie McDaniel, who raised him as her own. When Diddley’s adoptive father Robert died in 1934, Gussie relocated to the South Side of Chicago where Bo began to take an interest in music. “Bo would talk about the Ebeneezer Baptist Church where he first took violin lessons with his music teacher, Professor O. W. Frederick,” Debby Hastings tells Vintage Rock. “He liked the violin but he had very large hands, ‘meat hooks’ as he called them, and he was not able to play such a delicate instrument. So, he picked up the guitar. Bo wanted to play like Gene Autry believe it or not.” Talking with journalist Paul Trynka in 1996, Diddley revealed: “I didn’t play no blues music until I was maybe 13. Up to then, I wasn’t even allowed to listen to any blues music, cause if I did then I’d catch hell from my mother… it was the Devil’s music.” Thankfully, Diddley disregarded his mother’s scaremongering and succumbed to the music of the Windy City, saying, “If John Lee Hooker could play guitar, I knew I could learn.” He cut his teeth singing on street corners while practising to play a guitar that his sister Lucille gifted him one Christmas. Inspired by the likes of Muddy Waters and Elmore James, he performed with renowned slide guitarist Earl Hooker at the Maxwell Street market. Any cash that he earned playing music in his band The Hipsters, who later became the Langley Avenue Jive Cats, was supplemented by working numerous jobs around town. Punching In For an artist who would go on to namecheck himself in so many songs, the origins of the Bo Diddley moniker remains murky and a number of theories exist. However, the man himself revealed in a 2001 interview with Arlene R. Weiss, that it was bestowed on him as a youngster. “I was in grammar school in Chicago and the kids started calling me Bo Diddley,” he said. “I used it when I’d box in the neighbourhood. We called ourselves The Little Neighbourhood Golden Gloves Bunch. We used to spar with each other, stuff like that, so it was like a nickname.” In late 1954, he teamed up with harmonica player Billy Boy Arnold, drummer Clifton James and bass player Roosevelt Jackson to cut demos of I’m A Man and his eponymous theme tune, Bo Diddley. On hearing the demo, an impressed Phil and Leonard Chess of Chicago’s Chess Records offered Diddley a deal with subsidiary label Checker, and his irresistible take on R&B would go on to completely change the future of music. Diddley’s pioneering prowess extended far beyond anything many other artists at the time could have envisaged. He developed many innovations with his self-designed, rectangular ‘Twang Machine’, which was later christened a ‘cigar box guitar’ by music promoter Dick Clark. The Beat Goes On “I made one when I was a teenager,” Diddley told Vintage Guitar in 1997. “Its pickup was the part of a Victrola record player where the needle went in. I clamped it to the metal tailpiece to pick up the vibrations. I wasn’t able to buy electric guitars back then, so I built them, and they worked pretty good.” “He was a big man and a prizefighter in his younger days,” continues Hastings. “Bo would dance a lot on stage, perform deep knee bends and jump around. He wanted a slimmer guitar that would make it easier for him to do these stage antics and that’s how he developed what some called the ‘square guitar’. Of course, it isn’t square at all, it’s a rectangle. He was a real innovator and put electronics inside the guitar that would normally be found in an amplifier. The tremolo, echo, EQ, and all of these effects, made the guitar very heavy. He used weighty strings as well. “When he played, it had a very solid sound. The ‘Bo Diddley Beat’ is very definitive with continuous accents and downbeats, like a freight train chugging along the tracks. If you mention it, people will know exactly what you’re talking about and can sing it back to you. It has come to replace any other references. When he played that rhythm on his guitar, you could feel it deep in your bones. He will always be known for that beat. It’s so profound, so rockin’, so important!” When Diddley’s Checker debut 45 landed with its belting ‘bomp-ba-domp-ba-domp, ba-domp-domp’ beat, the music world shook with its relentless pattin’ juba rhythm. While the song only topped the Billboard R&B chart for two weeks in 1955, its syncopated sound would reverberate around the world and down the generations. Beat Box There have been many high-profile instances of other artists incorporating Bo’s beat in their music. Everyone from Elvis Presley, Duane Eddy, The Byrds, The Who, and Them to David Bowie, Bruce Springsteen, The Clash, U2 and George Michael, have utilised that stimulating stomp. But perhaps the most notable variation came two years after the release of Bo Diddley in 1957 when Jerry Allison tapped out a similar beat on a cardboard box for The Crickets’ Not Fade Away. Buddy Holly, who was indubitably a fan, had covered Bo Diddley in 1956 and scored a No.4 hit with it in July 1963 when it was posthumously released as a single. Not Fade Away, which was included on The “Chirping” Crickets album, only featured as the B-side to Oh, Boy! and never charted in its own right for Holly. However, The Rolling Stones would rectify that when they broke the UK Top 10 for the first time and took it to No.3 on the British hit parade in 1964. Talking about how fellow acts latched on to his hard-hitting hambone style, Diddley confessed to Vintage Guitar: “I didn’t like it at first, because I wasn’t educated in understanding the importance of other people copying your material… When I found out it was good for Bo Diddley, I thought I could go to the bank with royalties, but that never happened.” London Stomp Like many other artists to emerge during the burgeoning British beat boom of the 1960s, the Stones would cover Bo’s work or ‘Diddleyfy’ their own tracks. Aside from perhaps Muddy Waters or Chuck Berry, you’d be hard pushed to find another artist who had a greater stranglehold over a young Jagger and Richards than Diddley. However, the admiration was mutual, as Hastings pointed out: “He loved The Rolling Stones. It was early on in Bo’s career when he went to England on tour with them and he was always one of their heroes.” When Gene Vincent’s manager and gig promoter, Don Arden, offered the Stones a slot on the same package tour as the main man they seized the opportunity and respectfully dropped renditions of tracks such as Cops And Robbers, Crackin’ Up, Diddley Daddy, Mona, Pretty Thing and Road Runner from their set. “For us, the big thrill is that Bo Diddley will be on the bill,” they told the NME at the time. “He’s been one of our great influences. It won’t be a case of the pupils competing with the master, though. We’re dropping from our act on the tour all the Bo Diddley numbers we sing.” Opening at London’s New Victoria on 29 September 1963, the extensive run of shows was not only the Stones’ first nationwide jaunt, it was also Diddley’s debut visit to the UK. Other acts appearing on the original poster included The Flintstones, a group of musicians who could sit in with an act when required, Julie Grant, Mickie Most and headliners, The Everly Brothers. Rhythm King Like the Stones, the inclusion of Diddley on the bill was keenly received by Don and Phil who appreciated his music wholeheartedly. Indeed, Don would later write in his foreword to George R White’s biography, Bo Diddley: Living Legend: “After hearing Bo Diddley for the first time in 1955 my idea of music was forever changed… I think his influence is very evident in my intro to Bye Bye Love, which was my attempt to connect to that same rhythm he alone originated.” Unfortunately, by the autumn of 1963, all was not going well for the brothers following their earlier split from publishers Acuff-Rose and their hit-making team of Felice and Boudleaux Bryant. Exacerbated by the arrival of The Beatles on the scene, the harmonious duo were experiencing something of a dip in both chart success and popularity. Fearing the tour would be a financial failure, Arden reached out to Little Richard for help in boosting ticket sales. Before you could say, “A-wop-bop-a-loo-bop-a-lop-bam-boom!”, the US firecracker was en route to join the bill as a co-headliner. The tour kicked off swimmingly for all the star attractions involved. Following Bo’s opening night performance, Chris Hutchins in his NME review wrote: “The familiar strains of the song to which he gave his name earned Bo a warm reception that had turned to something approaching red heat before his startling, though comparatively brief, set was completed.” Hey Good Lookin’ However, the arrival of Little Richard at Watford’s Gaumont Cinema on 5 October 1963, immediately set the cat amongst the pigeons. Tearing through tracks such as Long Tall Sally, Tutti Frutti, Rip It Up, and Lucille, the flamboyant rocker overran his allocated time slot and would continue to do so night after night. Richard was not only grabbing the headlines but was also stealing the show and fans lapped up the sensational spectacle. It truly was a rock’n’roll education, as Keith Richards remembered in his autobiography: “Little Richard’s stage presentation was outrageous and brilliant.” Richard’s theatrics did little to phase Diddley, though, who simply let the music do the talking, and his explosive R&B left fans wanting more. Between October and December 1963 his latest single, Pretty Thing, made the Top 40 and his Bo Diddley, Bo Diddley Is A Gunslinger and Bo Diddley Rides Again albums all hit the Top 20. The tour was heralded as a success for Bo, for fans, and members of The Rolling Stones who got to witness the master deliver the goods every night. Two years later, Diddley was back in Britain for a second time. In the interim year Bo Diddley’s Beach Party album had spent six weeks in the Top 20 while his Hey, Good Lookin’ single also broke the Top 40 in August 1965 when it made No.39. I’m A Roadrunner Honey Sadly, the ’65 tour was a mismanaged affair and stumbled its way around Britain before Bo skedaddled back to the States prior to the final show on 18 October. Despite all the problems encountered, Bo still left a lasting impression on one particular fan, future Rolling Stone, Ronnie Wood, whose band The Birds opened for the star at London’s 100 Club on 28 September. Writing for The Guardian, Wood remembered: “He didn’t have a band with him so he asked us if we could back him up. What made him so great was his freedom, his reckless abandon, and the confidence that shone through in his music. “I got to know him really well and he was always very affectionate towards me,” Wood continued. “He would more or less sit you on his knee, a bit like your granddad, and tell you a story about back in the old days.” “Ron was Bo’s good friend,” confirms Hastings. “They would go on to tour together for almost two years between 1988 and 1989. I was on the road with them and they had a lot of fun ‘cutting’ each other up. I remember there was always a lot of laughter going on. Bo loved life on the road and didn’t mind living out of a suitcase. He very much liked touring the UK and loved to meet fans over there. He enjoyed holding court like the king!” Ahead Of His Time For that first 1963 tour Diddley brought his manic maraca shaker Jerome Green and glamorous guitarist Norma-Jean Wofford with him on the road. Born in Pittsburgh, Pennsylvania, Wofford was Bo’s second female guitarist, replacing Peggy Jones who was better known as Lady Bo. Jones joined Diddley’s band at just 16 years of age and recorded with him from 1957. Appearing on singles such as Hey! Bo Diddley, Road Runner and Bo Diddley’s A Gunslinger, Lady Bo would state: “Yes, Bo Diddley helped shape the sound of rock’n’roll, but I did too because I was there by his side.” When Jones left Bo in 1961 to start her own group The Jewels, later known as Lady Bo & The Family Jewel, Diddley recruited Wofford and christened her The Duchess. Known for her sultry skin-tight stage outfit, the protective band leader would tell male admirers that she was his sister. Leaving the band to focus on her family in 1966, Diddley later stated: “We did everything together. She was like family, which was why I told everyone that she was my sister.” In a time when it was rare for women in rock’n’roll music to be anything other than backing singers, Diddley challenged the norm and placed his female associates firmly in the spotlight. “He never talked about being a supporter of female musicians in particular,” revealed Hastings, who followed Lady Bo and The Duchess when she joined Diddley’s band in the early 80s. “To him, it made no difference. Women have always been able to play as well as men and he embraced the reality of that, unlike others. For him it was silly to do otherwise, he was very progressive and ahead of his time.” Sweet Side “I can’t pinpoint the first time I heard Bo or the ‘Bo Diddley Beat’,” says his friend and collaborator. “It’s just always been a part of my musicality and anybody who has ever played rock’n’roll is very familiar with it.” Hastings, who played with him longer than the likes of Lady Bo and The Duchess, also acted as his music director since 1994. “He loved to improvise on stage and it was rarely the same way twice,” Hastings continues. “My job was to count off the tunes in the right tempo, bring the band in, signal stops such as in the middle of Can’t Judge A Book, and also cue the endings. I would shape the improvisation in a way that made it interesting for us and also pushed Bo into a place he had maybe never been before. Sometimes I would take it pretty far out. “He was such an imposing figure and had a very strong stage persona. He took over the stage like a storm cloud. You were enveloped in the thunder and the lightning and it wouldn’t let go! “Bo had a very good sense of humour and also had quite a sweet side. He always thought of his people back home and the kids in the neighbourhood. I remember how he would make sure to get enough T-shirts to pass out to those kids. It was always 32 shirts for Bo and six for the band. He could also be obstinate and ornery. He didn’t trust people very much, although he trusted his management and me. We always had his back.” A Man Amongst Men When Diddley died, aged 79, at his home in Florida, Hastings joined numerous family members and his manager, Margo Lewis, to be by his side. “I had been called down the day before because it was expected,” Hastings recalls. “I had alone time with him throughout the day and I just sat with him, held his hand, and told him what an honour it was to be able to share the stage with him. His eyes were closed, but I know he heard me because he would give a little smile. “Bo loved his manager Margo and the two were very close right up to the time that he actually passed. He called her over, blew her a kiss, and I will never forget that tender moment. Family members started singing a hymn called Walk Around Heaven. When it was over, Bo spoke his last words: ‘Wow, I’m goin’ to heaven’.” Rock’n’Roll Trailblazer When considering the trailblazers of rock’n’roll, it seems criminal that ‘The Originator’ is often overlooked. “I opened the door for a lot of people and they just ran through and left me holding the knob,” he told The New York Times in 2003. So Vintage Rock wonders how Bo would feel about the fact we’re still talking about him today and continue to enjoy his music. “He was absolutely right to say that, after all he was their father/grandfather,” Hastings replies. “As an innovator, I think that he was disappointed, upset, and frustrated. He didn’t follow them, they followed him. “I know he was upset with Elvis. Bo would tell me about seeing this young white kid at shows who would often watch him from the wings. The kid was brought in specifically to watch what Bo was doing on stage and that kid was Elvis. When we played Memphis, Tennessee, we took Bo to Graceland. What a mistake that was… The white kid ran over the black kid… boy, did he ever. “For me, Bo Diddley is the rock that the roll was built upon and I think he would be very happy that he put his deep stamp on music. And you can’t really ask for anything better than that can you?” Did you enjoy this article? Why not check out When Rockabilly Shook The World
correct_death_00084	FactBench	1	74	https://www.tiktok.com/%40fookmerunnin/video/7328270693165010207	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
correct_death_00084	FactBench	2	21	https://www.flickr.com/photos/tags/Jerry%2520Johnson%2520Hot%2520Springs/	en	Jerry%20Johnson%20Hot%20Springs photos on Flickr	https://combo.staticflickr.com/pw/favicon.ico	https://combo.staticflickr.com/pw/favicon.ico	[]	[]	[]	[ "" ]	null	[]	2024-07-19T14:19:41.712000+00:00	Flickr photos, groups, and tags related to the "Jerry%20Johnson%20Hot%20Springs" Flickr tag.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/tags/Jerry%20Johnson%20Hot%20Springs/
correct_death_00084	FactBench	0	38	https://www.rollingstone.com/music/music-news/remembering-bo-diddley-1928-2008-68713/	en	Remembering Bo Diddley: 1928-2008	https://www.rollingstone…600&h=900&crop=1	https://www.rollingstone…600&h=900&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif" ]	[]	[]	[ "" ]	null	[ "Alan Light" ]	2008-06-27T00:45:00+00:00	Bo Diddley invented his name, his guitar and a beat that changed music forever. The Stones and others remember one of the founders of rock & roll	en	https://www.rollingstone…Favicon.png?w=32	Rolling Stone	https://www.rollingstone.com/music/music-news/remembering-bo-diddley-1928-2008-68713/	For a young black singer and guitarist from Chicago with only a minor hit, getting booked on The Ed Sullivan Show in 1955 was a career-making opportunity. Sullivan asked him to sing Tennessee Ernie Ford’s country smash “Sixteen Tons”; instead, the young star unleashed the guitar maelstrom that introduced him to the world, and whose title bore his name: “Bo Diddley.” The audience went wild, and Sullivan fumed, promising that Diddley would never appear on television again. Later, Diddley recalled the aftermath: “He says to me, ‘You’re the first colored boy ever double-crossed me on a song.’ And I started to hit the dude, because I was a young hoodlum out of Chicago, and I thought ‘colored boy’ was an insult.” 100 Greatest Artists of All Time: Bo Diddley Diddley was pure masculinity, with songs that shouted his name and proclaimed his skills. With a cigar-box-shape guitar he designed himself, a Stetson on his head and a sound that permanently reoriented the world’s sense of rhythm, Bo Diddley called himself “the Originator.” And when he died at age 79 on June 2nd from heart failure at his home in Archer, Florida, music lost a one-of-a-kind pioneer. “He was by far the most underrated of any Fifties star,” says Phil Spector. “The rhythmic invention, the excellence of the writing, the power of the vocals — nobody else ever did it better.” Diddley had only one Top 40 pop hit, 1959’s “Say Man,” but the impact of his songwriting, his guitar-playing and that signature “Bo Diddley beat” were as significant as anyone’s contributions in the history of rock & roll. The “one-two-three, one-two” beat — first established on his debut, 1955’s Number One R&B hit “Bo Diddley” — propelled classic songs by Bruce Springsteen (“She’s the One”), U2 (“Desire”), George Michael (“Faith”), the Who (“Magic Bus”) and countless others. “It was like I did the ‘Bo Diddley’ song by accident,” Diddley said. “I just started beating and banging on my guitar. And then I fooled around and got it syncopated right, where it fit the dirty lyrics that I had. And then it just seemed to fall right into place.” If Diddley’s lone contribution to rock & roll had been the Bo Diddley beat, he would already be an immortal. But his legacy is much larger than that. He made records that were built on boasting rhymes decades before LL Cool J or Run-DMC. And he reduced his music to its basic rhythmic core, stripping his sound to the pure primacy of the beat, long before James Brown used a similar approach to transform soul into funk. In Rock & Roll: An Unruly History, Robert Palmer wrote that “what Bo came up with was a comprehensive theory of rhythmic orchestration . . . . The tendency is for every instrument to become a rhythm instrument.” Editor’s picks Friends, Admirers Honor Bo Diddley at Funeral in Gainesville “I never heard a rhythm come out of a guitar like that,” says Robbie Robertson, whose breakthrough moment was a slashing solo he played on Ronnie Hawkins’ 1963 cover of “Who Do You Love.” “I first met him when I was 16, and he both fascinated me and scared me at the same time.” Bo Diddley was born Ellas Otha Bates in McComb, Mississippi, on December 30th, 1928. He never knew his father, and his mother couldn’t afford to raise him, so he was adopted by her cousin Gussie McDaniel. He took on her family’s name, becoming Ellas McDaniel. “My people are from New Orleans, the bayou country — French, African, Indian, all mixed up,” Diddley said. “That’s where my music comes from, all that mixture.” After Gussie’s husband died, she moved her two daughters, her son and Ellas, then around seven, to Chicago. He began taking violin lessons at church. “I used to read all this funny music, like Tchaikovsky,” he told Rolling Stone in 1987. “But then I didn’t see too many black dudes playin’ no violin.” 100 Greatest Guitarists of All Time: Bo Diddley He picked up the guitar after being astonished by John Lee Hooker. At some point, McDaniel also picked up his unforgettable nickname — though, like much in the Bo Diddley story, its origins are tangled. It has alternately been credited to a street diss meaning “worthless” (as in, “Man, you ain’t bo diddley”); a name he was given during his days as a Golden Gloves boxer; the invention of his harmonica player, Billy Boy Arnold; and as a derivation of the “diddley bow,” a single-string guitar seen on Southern farms.
correct_death_00084	FactBench	0	80	https://www.wuft.org/business-news/2016-03-10/bo-diddley-plaza-reopens-after-renovation	en	Bo Diddley Plaza Reopens After $1.8M Renovation	https://npr.brightspotcdn.com/dims4/default/faf1acd/2147483647/strip/true/crop/2048x1075+0+230/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fnews%2Ffiles%2F2016%2F03%2FBo-Diddley.jpg	https://npr.brightspotcdn.com/dims4/default/faf1acd/2147483647/strip/true/crop/2048x1075+0+230/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fnews%2Ffiles%2F2016%2F03%2FBo-Diddley.jpg	[ "https://npr.brightspotcdn.com/dims4/default/5a837b3/2147483647/strip/true/crop/119x60+0+0/resize/238x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F03098f5%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4a%2F4a%2Fc7f02b9f4431890c530b8c2e7be6%2Fwuft-pbs-npr-vertical-header-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/5a837b3/2147483647/strip/true/crop/119x60+0+0/resize/238x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F03098f5%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F4a%2F4a%2Fc7f02b9f4431890c530b8c2e7be6%2Fwuft-pbs-npr-vertical-header-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/76538ea/2147483647/strip/true/crop/2048x1536+0+0/resize/1760x1320!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fnews%2Ffiles%2F2016%2F03%2FBo-Diddley.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/76538ea/2147483647/strip/true/crop/2048x1536+0+0/resize/1760x1320!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fnews%2Ffiles%2F2016%2F03%2FBo-Diddley.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/f80100a/2147483647/strip/true/crop/237x120+0+0/resize/474x240!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F12%2Ff3%2F77524c364a708144d62c93d122ba%2Fwuft-logo-2endorser-secondary-vertical-white.png 2x" ]	[]	[]	[ "" ]	null	[ "Glenn Kennelly", "www.wuft.org" ]	2016-03-10T00:00:00	After a year-long, $1.8 million renovation, Bo Diddley Plaza officially reopened on Thursday.	en	/apple-touch-icon.png	WUFT \| News and public media for north central Florida	https://www.wuft.org/business-news/2016-03-10/bo-diddley-plaza-reopens-after-renovation	The Bo is back. After one year and $1.8 million in renovations, Bo Diddley Plaza in downtown Gainesville officially re-opened Thursday. The renovations were made to improve safety, visibility and accessibility on the plaza, according to the Gainesville Community Redevelopment Center's website. The design includes three additions to the North Side: a green room behind the stage with a waterwall feature facing University Avenue, a cafe on the northeast corner and an information kiosk on the northwest corner. Nathalie McCrate, project manager of Gainesville Community Redevelopment Agency, said the she worked closely with the Gainesville Police Department to eliminate dark corners on the plaza. "We lowered the size of the planter beds so you could see into them better," she said. "We added better and brighter lighting, and there are more security cameras on the plaza." McCrate said while safety is a priority, the new park is an inclusive environment. “The goal isn’t to exclude anyone," McCrate said. “It’s to exclude behaviors that are unsafe. But everyone’s welcome, and we want everyone to enjoy the plaza.” Evelyn Cooper came to the ribbon-cutting ceremony to honor her father and speak about his legacy to those in attendance. “He drew people of all kinds,” Cooper said to the crowd. “He never turned away one person. He brought them home from near and far. After James Brown passed, he looked at us and said, ‘You’d better do better than that for me when I leave here,' he said, ‘because I gave to mankind in money and love.'" Diddley lived the last years of his life in Archer, Florida, near Gainesville. He performed at the plaza numerous times when it was still the Downtown Community Plaza, the last time being in 2006. Gainesville Mayor Ed Braddy was one of six speakers at the ceremony; all of whom spoke with respect and admiration about Bo Diddley. “I didn’t know him personally,” Braddy said. “I didn’t meet him, but I had the pleasure of hearing him play one night. I actually went right over to one of our midtown places, and it was in his later years. And he could still hit the riffs like you wouldn’t believe." The spirit of innovation is strong in Gainesville, Braddy said, and Bo Diddley was someone Gainesville could proudly remember as an innovator in music. “He took the blues that had a century of sound behind it and made it different," the mayor said. "He was cutting-edge. So Gainesville can rightly lay claim to many entrepreneurs in social and cultural arts. But we have one of the founding fathers of musical entrepreneurship, and that’s Mr. Bo Diddley. We should all be proud of that.” Echoing the spirit of Bo Diddley, interim City Manager Anthony Lyons noted the inspiration he receives from Gainesville's vast cultural and city life. “In recent years, it became apparent that the downtown area was in dire need of recondition, so we went to work to spruce up this place like you see before us,” Lyons said about the plaza. “But it’s really the people that make this place wonderful." Gainesville's District 1 commissioner, Charles Goston, said he was attending the ceremony as both a representative of the community and jazz lover, having owned a jazz cable station. He also honored Bo Diddley and spoke passionately about meeting him. “Even though I’ve done a lot in the music industry and communications industry, I still was humbled when I had an accidental meeting with him coming out of a music store,” Goston said. “Bo Diddley was a person that you had to humble yourself to. He was a great man." Goston said the beauty of the plaza, especially at night, brings hope to Gainesville in the same way Diddley gave him hope and inspiration. “The daylight doesn’t really do [the plaza] justice,” Goston said. “If you come out at night, you can see 250 different programmable LED light combinations. They can even turn orange and blue for Gator football season."
correct_death_00084	FactBench	1	54	https://www.instagram.com/thelegendsofmusic/p/C7sMPcfs0yb/	en	Instagram	https://static.cdninstag…/VsNE-OHk_8a.png	https://static.cdninstag…/VsNE-OHk_8a.png	[]	[]	[]	[ "" ]	null	[]	null		en	https://static.cdninstag…/VsNE-OHk_8a.png		null
correct_death_00084	FactBench	1	0	https://www.nytimes.com/2008/06/03/arts/music/03diddley.html	en	Bo Diddley, Who Gave Rock His Beat, Dies at 79	https://static01.nyt.com…794&k=ZQJBKqZ0VN	https://static01.nyt.com…794&k=ZQJBKqZ0VN	[ "https://static01.nyt.com/images/2008/06/02/obituaries/02diddley-600.jpg?quality=75&auto=webp&disable=upscale" ]	[]	[]	[ "" ]	null	[ "Ben Ratliff" ]	2008-06-03T00:00:00	The singer and guitarist invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2008/06/03/arts/music/03diddley.html	Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla. He was 79. The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa. In the 1950s, as a founder of rock ’n’ roll, Mr. Diddley along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others helped to reshape the sound of popular music worldwide, building on the templates of blues, Southern gospel, R&B and postwar black American vernacular culture. His original style of rhythm and blues influenced generations of musicians. And his Bo Diddley syncopated beat three strokes/rest/two strokes became a stock rhythm of rock ’n’ roll. It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” the Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs. Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremolo. The songs were knowing, wisecracking and full of slang, mother wit and sexual cockiness. They were both playful and radical. So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square and he designed it himself, long before custom guitar shapes became commonplace in rock. Mr. Diddley was a wild performer: jumping, lurching, balancing on his toes and shaking his knees as he wrestled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too. Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’ roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat. “I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003. He was a hero to those who had learned from him, including the Rolling Stones and the Beatles. A generation later, he became a model of originality to punk or post-punk bands like the Clash and the Fall. In 1979 Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, star-struck, said during the tour. For his part Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!” Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by Gussie McDaniel, the first cousin of his mother, Esther Wilson. After the death of her husband, Ms. McDaniel, who had three children of her own, took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school. He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of O. W. Frederick, a prominent music teacher at the Ebenezer Baptist Church, where Gussie McDaniel taught Sunday school. Ellas studied classical violin from 7 to 15 and started on guitar at 12, when a family member gave him an acoustic model. He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Jody Williams, then a quartet when they added a harmonica player, Billy Boy Arnold. The band, first called the Hipsters and then the Langley Avenue Jive Cats, started playing at the Maxwell Street open-air market. They were sometimes joined by another friend, Samuel Daniel, known as Sandman because of the shuffling rhythms he made with his feet on a wooden board sprinkled with sand. Mr. Diddley could not make a living playing with the Jive Cats in the early days, so he found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He also started boxing, hoping to turn professional. In 1954 Mr. Diddley made a demonstration recording with his band, which now included Jerome Green on maracas. Phil and Leonard Chess of Chess Records liked the demo, especially Mr. Diddley’s tremolo on the guitar, a sound that seemed to slosh around like water. They saw it as a promising novelty and encouraged the group to return. By Billy Boy Arnold’s account, the next day, as the band and the men who were soon to be their producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name described a “bow-legged guy, a comical-looking guy,” Mr. Arnold said, as quoted by Mr. White in his 1995 biography, “Bo Diddley: Living Legend.” That may be all there is to tell about the name, except for the fact that a certain one-string guitar native to the Mississippi Delta, often homemade, in which a length of wire is stretched between two nails in a board is called a diddley bow. By his account, however, Mr. Diddley had never played one. In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard singles chart. Mr. Diddley said he had first heard the “Bo Diddley beat” three-stroke/rest/two-stroke, or bomp-ba-domp-ba-domp, ba-domp-domp in a church in Chicago. But variations of it were in the air. The children’s game hambone used a similar rhythm, and so did the ditty that goes “shave and a haircut, two bits.” The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jock-A-Mo,” recorded by Sugar Boy Crawford in 1953. Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Bo Diddley” and “Pretty Thing,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this song became the template for Buddy Holly’s “Not Fade Away.”) Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play “Sixteen Tons,” the song popularized by Tennessee Ernie Ford. Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years. His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958 he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.” On songs like “Who Do You Love,” his guitar style bright chicken-scratch rhythm patterns on a few strings at a time was an extension of his early violin playing, he said. “My technique comes from bowing the violin, that fast wrist action,” he told Mr. White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords. As his fame rose, his personal life grew complicated. His first marriage, at 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home. Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos against intermarriage. During the late 1950s Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma-Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road. The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the twist dance craze, as Chubby Checker had done, and on the surf music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing several of his songs in its concerts. It paved the way for Mr. Diddley’s successful tour of Britain in the fall of 1963, performing with the Everly Brothers, Little Richard and the Rolling Stones, the opening act. But Mr. Diddley was not willing to move to Europe, and in America the picture worsened: the Beatles, the Stones, Bob Dylan and the Byrds quickly made him sound quaint. When work all but dried up, Mr. Diddley moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract expired in 1974. His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and inaugural balls for two presidents, George H. W. Bush and Bill Clinton.
correct_death_00084	FactBench	0	59	https://www.denverpost.com/2008/06/02/musical-legend-who-inspired-legions-dies/	en	Musical legend who inspired legions dies	https://www.denverpost.c….jpg?w=600&h=391	https://www.denverpost.c….jpg?w=600&h=391	[ "https://www.denverpost.com/wp-content/uploads/2020/11/dp-logo-1.svg", "https://www.denverpost.com/wp-content/uploads/2016/05/20080602__20080603_B05_AE03DIDDLEYp1.jpg?w=537", "https://www.denverpost.com/wp-content/plugins/dfm-trust-indicators/static/images/Trust-Logo-Horizontal.svg", "https://www.denverpost.com/wp-content/uploads/2024/05/123_1_4.jpg?w=524", "https://www.denverpost.com/wp-content/uploads/2023/06/TDP-L-johnston2060623-cha-918.jpg?w=525", "https://www.denverpost.com/wp-content/uploads/2020/11/dp-logo-1.svg" ]	[]	[]	[ "" ]	null	[ "The Associated Press", "Migration" ]	2008-06-02T00:00:00	Musical legend who inspired legions dies	en	https://www.denverpost.c…verpost.jpg?w=32	The Denver Post	https://www.denverpost.com/2008/06/02/musical-legend-who-inspired-legions-dies/	JACKSONVILLE, Fla. — Bo Diddley, a founding father of rock ‘n’ roll whose distinctive “shave and a haircut, two bits” rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79. Diddley died of heart failure at his home in Archer, Fla., said spokeswoman Susan Clary. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation. The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, is a member of the Rock and Roll Hall of Fame, had a star on Hollywood’s Walk of Fame and received a Grammy for lifetime achievement. In recent years, he also played for former presidents George H.W. Bush and Bill Clinton, one of his favorite politicians. “I think Clinton is going to be the mechanic to change the motor and bad parts that are ruining the country,” Diddley told The Denver Post in 1993. “I refer to him as a good mechanic to make the system run right again.” Golden’s Buffalo Rose and the Jazz Aspen Labor Day Festival in Snowmass have hosted Diddley on his stops in Colorado. He was forced to cancel a pair of shows in Thornton and Golden in 1990 due to a leg injury. His last concert here was on March 2, 2007, at the Soiled Dove Underground in Lowry. Born Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother’s cousin and took on the name Ellis McDaniel, which his wife always called him. Bo Diddley was a stage name whose origins are a mystery. “I don’t know where the kids got it, but the kids in grammar school gave me that name,” he once said. Other times, he gave somewhat differing stories. Some experts think a possible source is a one-string instrument used in traditional blues music called a diddley bow. His first single, “Bo Diddley,” introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as “shave and a haircut, two bits.” The B side, “I’m a Man,” with its slightly humorous take on macho pride, also became a rock standard. The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars. Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley’s Chess recordings “stand among the best singular recordings of the 20th century.” Diddley’s other major songs included, “Say Man,” “You Can’t Judge a Book by Its Cover,” “Shave and a Haircut,” “Uncle John,” “Who Do You Love?” and “The Mule.” Diddley’s influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp-ba-bomp-bomp-bomp-bomp rhythm for his song “Not Fade Away.” The Rolling Stones’ bluesy remake of that Holly song was their first chart single in the United States in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of “I’m a Man.” Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. Growing up, Diddley said, he had no musical idols, and he wasn’t entirely pleased that others drew on his innovations. “I don’t like to copy anybody. Everybody tries to do what I do, update it,” he said. “They copied everything I did, upgraded it, messed it up.” Despite his success, Diddley claimed he only received a small portion of the money he made. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida. You know Diddley The “Bo Diddley beat” was copied by countless artists and underscored many hits: Buddy Holly used it on “Not Fade Away,” Elvis Presley on “His Latest Flame” and Johnny Otis on “Willie and the Hand Jive.” Other artists who incorporated it were Duane Eddy (“Cannonball”), the Strangeloves (“I Want Candy”), the Who (“Magic Bus”), the Stooges (“1969”), David Bowie (“Panic in Detroit”), Bruce Springsteen (“She’s the One”), the Smiths (“How Soon Is Now?”), Guns N’ Roses (“Mr. Brownstone”) and U2 (“Desire”).
correct_death_00084	FactBench	1	15	https://www.organissimo.org/forum/topic/43754-rip-bo-diddley-79/	en	RIP: Bo Diddley, 79			[ "https://www.organissimo.org/forum/uploads/monthly_2015_12/org-colorbar-(white-red-blue)_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-4229.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-4229.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2019_05/tommy2.jpg.59beee6e1f2e27d0a87213b5b6312006.thumb.jpg.4bfaededfdfec70be7b01002c4fe0e96.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/6_Enthusiast.svg", "https://www.organissimo.org/forum/uploads/monthly_2019_05/tommy2.jpg.59beee6e1f2e27d0a87213b5b6312006.thumb.jpg.4bfaededfdfec70be7b01002c4fe0e96.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/6_Enthusiast.svg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-474.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-474.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-1096.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/2_Rookie.svg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-1096.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/2_Rookie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "http://www.slushpile.net/wp-content/uploads/2007/08/Bdiddley.jpg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-249.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/profile/photo-thumb-249.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-52.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-52.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-128.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/7_Collaborator.svg", "https://www.organissimo.org/forum/uploads/av-128.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/7_Collaborator.svg", "https://www.organissimo.org/forum/uploads/emoticons/default_sad.png", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-78.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-78.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "http://image.allmusic.com/00/amg/cov200/drf200/f232/f232915isp9.jpg", "http://image.allmusic.com/00/amg/cov200/drf200/f232/f2329626u1x.jpg", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2016_02/Stravinsky.jpg.8fab6065378e5305977f45f390de407c.thumb.jpg.a2a29062249177066953f914b5489b2e.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-435.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/12_Mentor.svg", "https://www.organissimo.org/forum/uploads/av-435.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/12_Mentor.svg", "https://www.organissimo.org/forum/uploads/monthly_2023_05/stewardessescopy.thumb.jpeg.190ffe5aa71f382870171c9aecd77d6a.jpeg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/9_RisingStar.svg", "https://www.organissimo.org/forum/uploads/monthly_2023_05/stewardessescopy.thumb.jpeg.190ffe5aa71f382870171c9aecd77d6a.jpeg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/9_RisingStar.svg", "https://www.organissimo.org/forum/uploads/av-3003.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/av-3003.jpg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "http://www.organissimo.org/forum/public/style_images/staff.png", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/monthly_2022_11/1_Newbie.svg", "https://www.organissimo.org/forum/uploads/set_resources_1/84c1e40ea0e759e3f1505eb1788ddf3c_default_photo.png" ]	[]	[]	[ "" ]	null	[ "7/4" ]	2008-06-02T16:20:53+00:00	Rock pioneer Bo Diddley dies at age 79 AP A spokeswoman says rock pioneer Bo Diddley has died. He was 79. The spokeswoman says Diddley died of heart failure Monday. He had suffered a heart attack in August 2007, three months after suffering a stroke while touring in Iowa. Doctors said the stroke ...	en	https://www.organissimo.org/forum/uploads/monthly_2015_12/favicon.ico.70e56b0754417916339b560f6c18d111.ico	organissimo forums	https://www.organissimo.org/forum/topic/43754-rip-bo-diddley-79/	June 3, 2008 Bo Diddley, Rock ’n’ Roll Pioneer, Dies at 79 By BEN RATLIFF, NYTimes Bo Diddley, a singer and guitarist who invented his own name, his own guitars, his own beat and, with a handful of other musical pioneers, rock ’n’ roll itself, died Monday at his home in Archer, Fla . He was 79. The cause was heart failure, a spokeswoman, Susan Clary, said. Mr. Diddley had a heart attack last August, only months after suffering a stroke while touring in Iowa.In the 1950s, Mr. Diddley — along with Chuck Berry, Little Richard, Jerry Lee Lewis and a few others — helped reshape the sound of popular music worldwide, building it on the templates of blues, southern gospel and rhythm and blues. His original style of R&B influenced generations of musicians. And his Bo Diddley syncopated beat — three strokes/rest/two strokes — became a stock rhythm of rock ’n’ roll. It can be found in Buddy Holly’s “Not Fade Away,” Johnny Otis’s “Willie and the Hand Jive,” Steppenwolf’s “Magic Carpet Ride,” The Who’s “Magic Bus,” Bruce Springsteen’s “She’s the One” and U2’s “Desire,” among hundreds of other songs. Yet the rhythm was only one element of his best records. In songs like “Bo Diddley,” “Who Do You Love,” “Mona,” “Crackin’ Up,” “Say, Man,” “Ride On Josephine” and “Road Runner,” his booming voice was loaded up with echo and his guitar work came with distortion and a novel bubbling tremelo. The songs were knowing, wisecracking and full of slang, mother-wit and sexual cockiness. They were both playful and radical. So were his live performances: trancelike ruckuses instigated by a large man with a strange-looking guitar. It was square, and he designed it himself, long before custom guitar shapes became commonplace in rock. Mr. Diddley was a wild performer, jumping, lurching, balancing on his toes and shaking his knees as he wrangled with his instrument, sometimes playing it above his head. Elvis Presley, it has long been supposed, borrowed from Mr. Diddley’s stage moves; Jimi Hendrix, too. Still, for all his fame, Mr. Diddley felt that his standing as a father of rock ’n’roll was never properly acknowledged. It frustrated him that he could never earn royalties from the songs of others who had borrowed his beat. “I opened the door for a lot of people, and they just ran through and left me holding the knob,” he told The New York Times in 2003. He was revered by those who had learned from him. He was a hero to the Rolling Stones and the Beatles, and a generation later he became a model of originality to post-punk bands like the Clash and the Fall. In 1979, Joe Strummer and Paul Simonon of the Clash asked that Mr. Diddley open for them on the band’s first American tour. “I can’t look at him without my mouth falling open,” Mr. Strummer, starstruck, told a journalist during the tour. For his part, Mr. Diddley had no misgivings about facing a skeptical audience. “You cannot say what people are gonna like or not gonna like,” he explained later to the biographer George R. White. “You have to stick it out there and find out! If they taste it, and they like the way it tastes, you can bet they’ll eat some of it!” Mr. Diddley was born Otha Ellas Bates in McComb, Miss., a small city about 15 miles from the Louisiana border. He was reared primarily by his mother’s first cousin, Gussie McDaniel, who had three children of her own. After the death of her husband, Ms. McDaniel took the family to Chicago, where young Otha’s name was changed to Ellas B. McDaniel. Gussie McDaniel became his legal guardian and sent him to school. He was 6 when the family resettled on Chicago’s South Side. He described his youth as one of school, church, trouble with street toughs and playing the violin for both band and orchestra, under the tutelage of Prof. O.W. Frederick, a prominent music teacher at Ebenezer Baptist Church. Gussie McDaniel taught Sunday school there. Ellas studied classical violin from the age of 7 to 15 and started on guitar at 12, when his sister gave him an acoustic model. He then enrolled at Foster Vocational School, where he built a guitar as well as a violin and an upright bass. But he dropped out before graduating. Instead, with guitar in hand, he began performing in a duo with his friend Roosevelt Jackson, who played the washtub bass. The group became a trio when they added another guitarist, Joseph Leon (Jody) Williams, and later a quartet when they added a harmonica player, Billy Boy Arnold. The band — first called the Hipsters, then the Langley Avenue Jive Cats — started playing at an open-air market on Maxwell Street. They were sometimes joined by another friend, Samuel Daniel, who was known as Sandman because of the shuffling rhythms he made with his feet in sand sprinkled on a wooden board. Playing with the Jive Cats was not enough to make a living in the early days, so Mr. Diddley found jobs where he could: at a grocery store, a picture-frame factory, a blacktop company. He worked as an elevator operator and a meat packer. He was also boxing, hoping to turn professional. In 1954, Mr. Diddley made a demonstration recording with his band, which now had Jerome Green on maracas, approximating Sandman’s swishing sound. Phil and Leonard Chess, of Chess records, liked the demo, especially the tremelo on the guitar, a sound that seem to slosh around like water. They saw it as a promising novelty and encouraged the group to return. By Billy Boy Arnold’s account, the next day, as the band and their soon-to-be producers were setting up for a rehearsal, they were idly casting about for a stage name for Ellas McDaniel when Mr. Arnold thought of Bo Diddley. The name, Mr. Arnold said, described a “bow-legged guy, a comical-looking guy.” That may be all there is to tell about the name, except for the fact that a certain one-string guitar — native to the Mississippi Delta, often home-made, in which a length of wire is stretched between two nails in a door — is called a Diddley Bow (sometimes spelled Diddlie Bow). By his account, however, Mr. Diddley had never played one. In any case, Otha Ellas McDaniel had a new name and the title of a new song, whose lyrics began, “Bo Diddley bought his babe a diamond ring.” “Bo Diddley” became the A side of his first single, in 1955, on the Checker label, a subsidiary of Chess. It reached No. 2 on the Billboard chart. Mr. Diddley said he had first heard the three-stroke/rest/two-stroke “Bo Diddley beat” in a church in Chicago. But variations of it were in the air. The children’s game “hambone” used a similar rhythm. The beat is also related to the Afro-Cuban clave, which had been popularized at the time by the New Orleans mambo carnival song “Jockomo,” recorded by Sugar Boy Crawford in 1953. Whatever the source, Mr. Diddley felt the beat’s power. In early songs like “Pretty Thing” and “Bo Diddley,” he arranged the rhythm for tom-toms, guitar, maracas and voice, with no cymbals and no bass. (Also arranged in his signature rhythm was the eerie “Mona,” a song of praise he wrote for a 45-year-old exotic dancer who worked at the Flame Show Bar in Detroit; this became the template for Holly’s “Not Fade Away.”) Appearing on “The Ed Sullivan Show” in 1955, Mr. Diddley was asked to play Tennessee Ernie Ford’s “Sixteen Tons.” Without telling Mr. Sullivan, he played “Bo Diddley” instead. Afterward, in an off-camera confrontation, Mr. Sullivan told him that he would never work in television again. Mr. Diddley did not play again on a network show for 10 years. For decades, Mr. Diddley was bitter about his relationship with the Chess family, whom he accused of withholding money owed to him. In her book “Spinning Blues into Gold,” Nadine Cohodas quoted Marshall Chess as saying, “What’s missing from Bo’s version of events is all the gimmes.” Mr. Diddley would borrow so heavily against projected royalties, Mr. Chess said, that not much was left over in the final accounting. Mr. Diddley’s watery tremolo effect, from 1955 onward, came from one of the first effects boxes to be manufactured for guitars: the DeArmond Model 60 Tremelo Control. But Mr. Diddley contended that he had already built something similar himself, with automobile parts and an alarm-clock spring. His first trademark guitar was also handmade: he took the neck and the circuitry off a Gretsch guitar and connected it to a square body he had built. In 1958, he asked Gretsch to make him a better one to the same specifications. Gretsch made it as a limited-edition guitar called “Big B.” On songs like “Who Do You Love,” his guitar style — bright, chicken-scratch rhythm patterns on a few strings at a time — was an extension of his early violin playing, he said. “My technique comes from bowing the violin, that fast wrist action,” he told George White, explaining that his fingers were too big to move around easily. Rather than fingering the fretboard, Mr. Diddley said, he tuned the guitar to an open E and moved a single finger up and down to create chords. As his fame rose, his personal life grew complicated. His first marriage, at the age of 18, to Louise Woolingham, lasted less than a year. His second marriage, in 1949, to Ethel “Tootsie” Smith, unraveled in the late 1950s. He then moved from Chicago to Washington, settling in the Mount Pleasant district, where he built a studio in his home. Separated from his wife, he was performing in Birmingham, Ala., when, backstage, he met a young door-to-door magazine saleswoman named Kay Reynolds, a fan, who was 15 and white. They moved in together in short order and were soon married, in spite of Southern taboos and laws against racial intermarriage. During the late 1950s, Mr. Diddley’s band featured a female guitarist, Peggy Jones (stage-named Lady Bo), at a time when there were scarcely any women in rock. She was replaced by Norma Jean Wofford, whom Mr. Diddley called the Duchess. He pretended she was his sister, he said, to be in a better position to protect her on the road. The early 1960s were low times. Chess, searching for a hit, had Mr. Diddley make albums to capitalize on the dance craze “the twist,” as Chubby Checker had done, and on the “surf” music of the Beach Boys. But soon a foreign market for his earlier music began to grow, thanks in large part to the Rolling Stones, a newly popular band that was regularly playing at least seven of his songs in their concerts. It paved the way for Mr. Diddley’s successful tour of England in 1963. But he wasn’t willing to move to Europe, and in America the picture worsened for him: the Beatles, the Stones, Bob Dylan and the Byrds quickly made Bo Diddley sound quaint. When work all but dried up, he moved to New Mexico in the early 1970s and became a deputy sheriff in the town of Los Lunas. With his sound updated to resemble hard rock and soul, he continued to make albums for Chess until his contract with it expired in 1974. His recording career never picked up after that, despite flirtations with synthesizers, religious rock and hip-hop. But he continued apace as a performer and public figure, popping up in places both obvious, like rock ’n’ roll nostalgia revues, and not so obvious: a Nike advertisement, the film “Trading Places” with Eddie Murphy, the 1979 tour with the Clash, and two presidential inaugurals, George H. W. Bush’s and Bill Clinton’s. Since the early ’80s, Mr. Diddley lived in Archer, Fla., near Gainesville, owning 76 acres and a recording studio. His passions were fishing and old cars, including a 1969 purple Cadillac hearse. In 1992, he married Sylia R. Paiz, who became his fourth wife. Mr. Diddley’s survivors also include his children, Evelyn Kelly, Ellas A. McDaniel, Tammi D. McDaniel and Terri Lynn McDaniel, as well as 15 grandchildren, 15 great-grandchildren and three great-great-grandchildren. Mr. Diddley attributed his longevity to abstinence from drugs and drinking, but in recent years he had suffered from diabetes. After a concert in Council Bluffs, Iowa, on May 13, Mr. Diddley had a stroke and was taken to Creighton University Medical Center in Omaha. Last Aug. 28, he suffered a heart attack in Gainesville and was hospitalized. Mr. Diddley always believed that he and Chuck Berry had started rock ’n’ roll, and the fact that he couldn’t, financially, reap all that he had sowed made him a deeply suspicious man. “I tell musicians, ‘Don’t trust nobody but your mama,’ ” he said in an interview with Rolling Stone magazine in 2005. “And even then, look at her real good.”
correct_death_00084	FactBench	1	42	https://www.independent.com/2006/09/28/bo-diddley-ruthie-foster-and-alvin-youngblood-hart/	en	Bo Diddley, with Ruthie Foster and Alvin Youngblood Hart.	https://www.independent.…/Bo_Diddley2.jpg	https://www.independent.…/Bo_Diddley2.jpg	[ "https://www.independent.com/wp-content/uploads/2022/07/IndyLogo.png?fit=1200%2C339", "https://secure.gravatar.com/avatar/8073d3230e4104e49adc3e5e5f77339b?s=50&d=mm&r=g", "https://www.independent.com/wp-content/uploads/2008/06/02/Bo_Diddley2.jpg", "https://www.independent.com/wp-content/uploads/2008/06/02/Bo_Diddley3.jpg", "https://www.independent.com/wp-content/uploads/2024/07/Joan-Mitchell.jpg?resize=615,370", "https://www.independent.com/wp-content/uploads/2024/07/Ziggy-Marley-Courtesy-of-Tuff-Gong-Worldwide-WEB-photobyZachWeinberg.jpg?resize=615,370", "https://www.independent.com/wp-content/uploads/2024/07/IMG_6161-Large.jpeg?resize=615,370", "https://www.independent.com/wp-content/uploads/2024/07/Beau-Rock.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/JULY-2024-SB-ANTIQUE-SHOW.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/Gary-Robinson-Portrait-of-Julia-Longwing-2022Web.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/04/2024_BingoFundraiser_PrintAndSocial.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/IMG_20240629_125318425_HDR2-1.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/Screenshot_20240709_160037_Chrome.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/05/unnamed_74a3ae.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/VWC_People3_757281.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/JULY-2024-SB-ANTIQUE-SHOW.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/07/451491685_17869523418140208_2015285433185581849_n.jpg?resize=130,100", "https://www.independent.com/wp-content/uploads/2024/06/The-good-good-show.zip-1.png?resize=130,100", "https://www.independent.com/wp-content/themes/independent/assets/img/secure90x72.gif", "https://www.independent.com/wp-content/themes/independent/assets/img/logo@2x.png" ]	[]	[]	[ "" ]	null	[ "Matt Kettmann", "Jackson Friedman", "Callie Fausey", "Ryan P. Cruz", "Jean Yamamura", "Margaux Lovely", "Strong Towns Santa Barbara", "Leslie Dinaberg", "Mark M. Alvarado" ]	2006-09-28T00:00:00	Bo Diddley died last night at age 79. Here is a review from his last Santa Barbara appearance, a Lobero performance in September of 2006.	en	https://www.independent.….png?fit=32%2C32	The Santa Barbara Independent	https://www.independent.com/2006/09/28/bo-diddley-ruthie-foster-and-alvin-youngblood-hart/	Bo Diddley died last night at age 79. Here is a review from his last Santa Barbara appearance, a Lobero performance in September of 2006. Already a formidable jazz force, the Lobero ups the ante with its R&B (& rock, if you look closely) series. But it’s probably better themed as roots music, that pure sounding blues-rock amalgam from which rock ’n’ roll draws its inspiration. The term certainly applied to Monday’s appearance by Bo Diddley, the man “who put the rock in roll.” First up was soloist Ruthie Foster playing songs about music, heaven, prayer, and death. The small-town Texan’s songwriting skills were solid, as witnessed in her attempt at Sam Cooke’s style in “Another Rain Song” and in her new song, “Mama” — an ode to her mom that’ll be on her forthcoming January album. In contrast to Foster’s starkness, Alvin Youngblood Hart — a dreadlocked man whose giant frame made his guitars look like breakable toothpicks — took the stage with Bo Diddley’s full backing band. It’s not that Hart’s music was especially intricate, but his blues/folk/rock/everything-else sound — on which the Memphis guitarist prides himself for being genre-busting — is full and loud. Hart’s pissy attitude left a bad taste in many mouths, and others griped that his music was far too run-of-the-mill. But there were fits of talent in a couple of songs, especially one where a ska beat slid into surf music at each chorus. Then it was Bo’s turn. Dressed in a bright red shirt and badge-adorned black hat, and with a rectangular guitar in hand, the nearly 78-year-old Rock ’n’ Roll Hall of Famer led a short set full of rambling banter and hit ’n’ miss improvisation before he let loose on his guitar and microphone, playing with fast hands and belting out lyrics strongly. Highlights included “I’m a Man” morphing into “Shut Up Woman,” a lengthy rap song — at times freestyle — that had the crowd on its feet, as well as the final song, “Hey Bo Diddley,” when Foster and Hart returned to the stage. Many in the crowd left before the 10:30 p.m. finish, happy to have seen Bo but not interested enough to stay. I can’t say I blame them; the performance won’t go down in the record books. But Bo Diddley’s already got entire record books written on him, and it was an honor to have basked in his confident, carefree, and often raunchy glory.
correct_death_00084	FactBench	0	75	https://radio.wpsu.org/2008-06-02/remembering-rock-and-roll-legend-bo-diddley	en	Remembering Rock and Roll Legend Bo Diddley	https://radio.wpsu.org/favicon-32x32.png	https://radio.wpsu.org/favicon-32x32.png	[ "https://npr.brightspotcdn.com/dims4/default/0aa41ab/2147483647/strip/true/crop/193x60+0+0/resize/386x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F5f77679%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F81%2F06%2Fdf076ae34674b296484a33fa470f%2Fwpsu-logo-smaller.png 2x", "https://npr.brightspotcdn.com/dims4/default/34eedc3/2147483647/strip/true/crop/2880x210+0+0/resize/2880x210!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F08%2F93%2F6fee829f42b7895fa192c498af89%2Fheader-bg-triangles.png 2x", "https://npr.brightspotcdn.com/dims4/default/0aa41ab/2147483647/strip/true/crop/193x60+0+0/resize/386x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F5f77679%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F81%2F06%2Fdf076ae34674b296484a33fa470f%2Fwpsu-logo-smaller.png 2x", "https://npr.brightspotcdn.com/dims4/default/3f8b3fd/2147483647/strip/true/crop/138x46+0+0/resize/1760x586!/quality/90/?url=https%3A%2F%2Fmedia.npr.org%2Fimages%2Fstations%2Flogos%2Fnpr.gif 2x", "https://npr.brightspotcdn.com/dims4/default/b440e72/2147483647/strip/true/crop/3600x2382+0+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fdf%2F1c%2F14d1d5474b0798fc6f4d2cf68ff7%2Fz-ev-br-madeinbradford-20230724-022.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/17ad194/2147483647/strip/true/crop/1164x770+0+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F6a%2F2d%2Fc4a3bd164542a107a45762714624%2Falpha-proclamation.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/c882de0/2147483647/strip/true/crop/5000x3308+0+25/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F39%2F73%2Fb1acd4b04d53b9855ab69e3ce739%2F92gvdwrezf0v01cb3h9r784cqm.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/97f9295/2147483647/strip/true/crop/2320x1535+0+837/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fe2%2Fde%2F701431a44308bb2fe7187d1157b5%2Flois-and-jim-sweetland.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/889b8d9/2147483647/strip/true/crop/6720x4446+0+34/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Faf%2F04%2Fc82d7902401197fe5887dfbcb9ce%2F01jd-ywgp-zj16-cf7z.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/e32be89/2147483647/strip/true/crop/3026x2002+0+17/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2f%2F2b%2Fe670240d44d69227158a5346fcf0%2Fap22241667705450.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/e7207ff/2147483647/strip/true/crop/4032x2667+0+357/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F44%2Fbc%2Fb6e253f34c3cac5513540fce44c2%2F01k9-aqsq-eeay-k28m.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/fe44826/2147483647/strip/true/crop/2400x1588+0+12/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F22%2F88%2F729fad484c248e1627d64ea2953b%2F01k9-b98h-ge77-rets.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/2ed37d1/2147483647/strip/true/crop/960x540+0+0/resize/1760x990!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Ffc%2Fd4%2Fefdf7f7e4010bf97d66d151e99b4%2Fnewsroundup-square.jpg 2x", "https://npr.brightspotcdn.com/dims4/default/56e6813/2147483647/strip/true/crop/120x38+0+0/resize/240x76!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwpsu%2Ffiles%2F201504%2Fwpsu-pennstate-120.png 2x", "https://npr.brightspotcdn.com/dims4/default/8306c9b/2147483647/strip/true/crop/65x60+0+0/resize/108x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F2c%2F7c%2Fffeab1024544a61779e5ac739d1b%2Fnpr-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/95af8c8/2147483647/strip/true/crop/44x60+0+0/resize/74x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwpsu%2Ffiles%2F201504%2Fpri-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/c3df85a/2147483647/strip/true/crop/68x60+0+0/resize/114x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwpsu%2Ffiles%2F201504%2Fbbc-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/43f7037/2147483647/strip/true/crop/159x60+0+0/resize/266x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwpsu%2Ffiles%2F201504%2Fapm-logo.png 2x", "https://npr.brightspotcdn.com/dims4/default/e5feb10/2147483647/strip/true/crop/200x63+0+0/resize/318x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fwpsu%2Ffiles%2F201509%2Fpsu-logo.png 2x" ]	[]	[]	[ "" ]	null	[]	2008-06-02T00:00:00	Rock pioneer Bo Diddley, who died Monday at the age of 79, leaves behind a sound that helped build a musical genre. Born in Mississippi and raised in Chicago, Diddley played guitar on street corners before being discovered by Chess Records.	en	/apple-touch-icon.png	WPSU	https://radio.wpsu.org/2008-06-02/remembering-rock-and-roll-legend-bo-diddley	NEAL CONAN, host: An American original died today. Nobody else looked like Bo Diddley with the shades and that black hat. Nobody else played that homemade square guitar, and while everybody from Buddy Holly to Bruce Springsteen borrowed that distinctive bom bom bom bom bom bah bom bah bom bom, it will be forever known as Bo's beat. Born Ellas Bates in 1928, later known as Ellas McDaniel, Bo told any number of stories about how he got the name. Most often, he said it was a nickname he picked up as a kid on the playgrounds in Chicago. He first hit the charts in 1955 with the song that bears his name. Chess Records released a string of hits afterwards. Bo always complained that other people made a lot more money off his records than he ever did. And while he welcomed the honors received later in life, including induction into the Rock and Roll Hall of Fame, "It didn't put no figures in my checkbook," as he put it. He suffered a stroke while on tour last year in Iowa, then a heart attack, and died today of heart failure at his home in Archer, Florida, at the age of 79. (Soundbite of song "Who Do You Love?") Mr. BO DIDDLEY: (Singing) I walked 47 miles of barbed wire I used a cobra snake for a neck tie. I got a brand new house on the roadside, Made out of rattlesnake hide. I got a brand new chimney made on top, Made out of human skulls. Now, come on, take a little walk with me, Arlene, And tell me, who do you love? Who do you love? Who do you love? Who do you love? Who do you love? Who do you love? Tombstone hand and a graveyard mind, I'm just 22 and I ain't scared of dying. Who do you love? Who do you love? Who do you love? Who do you love? I rode around the town, need a rattlesnake whip, Taking these, Arlene, you don't give me no lip. Who do you love? Who do you love? Who do you love? Who do you love? Night was black and the sky was blue, Around the ally, an ice wagon flew. Good old bump and somebody screamed, You should have heard just what I seen. Who do you love? Who do you love? Who do you love? Who do you love? Arlene took me by my hand She said, ooh, eeh, boy, you know I understand Who do you love? Who do you love? Who do you love? Who do you love? CONAN: Bo Diddley who died earlier today at the age of 79. This is Talk of the Nation from NPR News. I'm Neal Conan in Washington. Transcript provided by NPR, Copyright NPR.
correct_death_00084	FactBench	3	20	https://www.nytimes.com/2008/06/09/arts/music/09diddley.html	en	Beat Lives On at a Memorial for Bo Diddley	https://static01.nyt.com…op.png?year=2008	https://static01.nyt.com…op.png?year=2008	[]	[]	[]	[ "" ]	null	[ "Bill Dean" ]	2008-06-09T00:00:00	The services in Gainesville, Fla., were part funeral, part celebration and part a lesson in the roots of American music.	en	/vi-assets/static-assets/favicon-d2483f10ef688e6f89e23806b9700298.ico		https://www.nytimes.com/2008/06/09/arts/music/09diddley.html	GAINESVILLE, Fla. In one of his best-known songs from the 1950s, Bo Diddley proclaimed “I’m a Man.” At his funeral and a celebration that followed, he was also lionized as a musical legend. “This is the homecoming of a great man, a legend who touched many hearts around the globe,” said Karl Anderson, a local pastor and family friend who served as master of ceremonies at the funeral Saturday. The services at the Showers of Blessings Harvest Center here included proclamations, stories and songs adding up to a scene that was part funeral, part celebration and part a lesson in the roots of American music. The crowd included relatives, friends and musicians who had played with Mr. Diddley over the decades, and as the building filled up, the choir began leading refrains of “Hey, Bo Diddley!” with the crowd responding, “Hey, Bo Diddley!” He died June 2 of complications from a stroke and heart attack last year. The man whose real name was Ellas Bates McDaniel was also saluted earlier in the day with a parade and festival renamed after him in Archer, Fla., where he had lived for more than 20 years. “His syncopated rhythm has been used by countless musicians since he created it in the 1950s,” said Rodney J. Long, the commissioner of Alachua County and one of several politicians who attended the funeral. “So to the family, we thank you for sharing this man with the entire world.” The singer’s family among them 4 children, 15 grandchildren and 15 great-grandchildren sat in the front rows. His brother, the Rev. Kenneth Haynes, of Biloxi, Miss., told of losing him once before when Mr. Diddley, at age 7, moved with Gussie McDaniel, his mother’s first cousin, to Chicago, where he later took her surname and again last Monday, when he died. “I’ve been a fan of his since 16, 17 years of age probably one of the first records I ever bought,” said Eric Burdon, lead singer of the Animals, after the service. “I copied the jacket he was wearing for my first major TV appearance in England.” Mr. Burdon said that the music had such an impact on him that the first song on the Animals’ debut album was “The Story of Bo Diddley,” a song credited to Mr. Burdon and Ellas McDaniel. After the funeral, a two-hour musical celebration Saturday night at the Martin Luther King Multi-Purpose Center in Gainesville featured several musicians long associated with Mr. Diddley, including the bassist Debby Hastings, who played with him for the last 23 years and was with him in Iowa last May when he had the stroke that ended his performing career. “We missed him,” Ms. Hastings said of performing without Mr. Diddley. “He was the rock that the roll is built on.”
correct_death_00084	FactBench	1	39	https://trouserpress.com/forum/read.php%3F1,10144	en	Reading About Writing	https://trouserpress.com…2/book-cover.jpg	https://trouserpress.com…2/book-cover.jpg	[ "https://trouserpress.com/logo.svg", "https://trouserpress.com/app/uploads/2022/12/book-cover-666x1024.jpg" ]	[]	[]	[ "" ]	null	[ "Steve Erickson" ]	2022-12-21T16:49:33+00:00	Paul Gorman's chronicle of the music press augments his 2001 oral history but again does not bring the story into the 21st Century.	en		Trouser Press	https://trouserpress.com/reading-about-writing/	Totally Wired: The Rise and Fall of the Music Press By Paul Gorman (Thames & Hudson) By Steve Erickson Paul Gorman’s history of the music press begins before rock and roll, when English songwriter Lawrence Wright founded Melody Maker in 1927. Totally Wired examines both American and British publications, but Gorman, an Irishman based in London, addresses the latter with far more authority and effort. Some of the best-known American rock critics, like Greil Marcus, get only cursory mention. Nick Kent, whose New Journalism-inspired prose, taste for proto-punk artists like the Stooges and Lou Reed and appetite for drugs made him a British counterpart to Lester Bangs, receives much more attention. In 2001, Gorman published In Their Own Write, an oral history of music journalism. Totally Wired comes at the same subject in more detailed narrative form but again focuses attention on the second half of the 20th century, so the cataclysmic changes to media in the Internet age are outside the book’s scope. Gorman’s pessimism about music criticism in the present is apparent both in his decision not to write about it and his remark that music itself “outside of niche interests has become the soundtrack for the selling of things.” Part of Gorman’s mission is to detail the marginalization, achievements and experiences of female, LGBTQ and Black journalists. For pioneers, he goes back to 16 Magazine, which hired Gloria Stavers as editor in 1958, and Lilian Roxon and Lisa Robinson’s work in the early ‘70s. But Melody Maker staffer Caroline Coon relates a harrowing tale of attempted sexual assault by Barry Manilow’s publicist; it’s not the only story of explicit misogyny she relates. From its start, the British press found itself looking overseas to cover African-American and Afro-Caribbean music, but did so with white writers. Alan Lewis admits that, “There was a weird illogicality that I was editing a magazine called Black Music” but claims “if we could find more young black writers, we’d be using more of them. But in London at the time there were virtually none.” Perhaps influenced by Hunter S. Thompson, a lot of ’70s rock criticism sought to capture the energy and danger of the music being written about. Some visions of rebellion from that time thought they were speaking truth to power when they were just being jerks. In a juvenile but harmless example, Mick Farren speaks about trying to use both “Fuck Bryan Ferry” and “Screw Bryan Ferry” as NME headlines. To pick something appalling that goes unmentioned in Totally Wired, Rick Johnson wrote in Creem, “These bitches suck…girls are just sissies after all” about the Runaways in 1977. To be fair, there were female writers in the late ’70s British press who used a similarly vitriolic voice. Julie Burchill was able to turn her punk rant The Boy Who Looked at Johnny into a thriving career in right-wing punditry, but the lesbian teenager Jane Suck, who wrote for Sounds, faded after a few amphetamine-filled years. Judging from the quotes in Totally Wired, she could outdo the guys in edginess, complaining that she couldn’t masturbate to the cover of Roxy Music’s Greatest Hits and writing that her mom threw her out for playing Lust for Life too loud and doing as many drugs as Iggy himself. In Totally Wired’s version of the history of popular music, new styles emerge, get celebrated by the music press and die out in a few years. Each of them called for a different kind of writing. Nick Kent may have been suited to proto-punk, but the theory-driven, more cerebral writing of Paul Morley and Ian Penman, laden with references to Roland Barthes, Jacques Derrida and Michel Foucault, suited the grayer field of post-punk. They took their cues from the bands; Scritti Politti named a song after Derrida, while Joy Division’s lyrics are full of literary allusions. Gorman seems most enthusiastic depicting Smash Hits, which launched in 1978 and was hugely successful in the ’80s. As he describes it, the colorful pop bi-weekly practiced poptimism avant la lettre, celebrating British chart success with a fizzy exuberance and wit. Unlike the macho world of the weeklies, it was open to women and gay men, both as performers and writers. Future Pet Shop Boys singer Neil Tennant was an editor. It published a two-page gay rights manifesto submitted by Bronski Beat. As it gets into the ’80s, Totally Wired documents the music press’s struggles to cover a splintering scene. By 1983, it had become as disillusioned and aimless as it was just before punk. In some respects, this seems like a strictly British phenomenon, born of some critics’ apathy towards the Smiths-inspired indie rock scene, distance from the innovations of hip-hop, go-go and Afrobeat and the inability to get superstars like Prince, Michael Jackson and Madonna to speak with the press on a regular basis. The notion that one magazine could encapsulate the entire music scene of the present seems increasingly dubious, although Britain’s three big weeklies – Melody Maker, Sounds, NME – tried. The closer the book gets to the present, the more this mood of fragmentation increases. Riot grrrl zines, the heavy metal mag Kerrang! and the early days of the hip-hop press had nothing to do with each other, but Gorman dutifully describes their rise and (sometimes) fall. American fanzines are mostly relegated to the sixteenth chapter, with important ones like Chemical Imbalance and Conflict overlooked. The relationship of the ‘60s underground press to music does get analyzed, but Totally Wired ignores alt-weeklies, which gave vital press to local music scenes around the U.S. By ending in 1999, Totally Wired exempts itself from the changes to music writing in the last 20 years. However, there has also been a degree of continuity. Phonograph Record Magazine was funded by United Artist Records, while Neil Fountain speculates that Island Records secretly did the same for Street Life. Tower Records published and distributed the monthly Pulse! for many years; Musicland similarly had Request. Now, Bandcamp runs daily articles on artists whose music it sells, many of whom are unlikely to get press anywhere. (Where else can you get the scoop on the L.A. electronic music label Peak Oil?) The practice of including singles with magazines (or the NME’s practice of issuing cassettes, including the legendary indie compilation C86) was transformed into the music blogs of the 2000s, which offered MP3s of new artists before the streaming era arrived. Toxic positivity and consensus have taken over from the days when Charles Shaar Murray of the NME could get away with advising the Clash to kill themselves. Totally Wired barely mentions music criticism this century. Its praise for Pitchfork and The Quietus seems rather perfunctory. In a review published in The Quietus itself, Alan Burrows points out that the fragmentation Gorman describes isn’t necessarily negative, and that even a print magazine as niche as Prog has survived since 2005. Mojo, which began in 1999, aims at a middle-aged (or older) audience that still has some curiosity about new music. Heavy metal specialist magazines still exist. But the adventurous early days of the blogosphere couldn’t be sustained. The website Tiny Mixtapes, which specialized in unusual writing about experimental music (including publishing short stories, poems and images as “reviews”), went under in 2019. The Singles Jukebox, which offered blurbs on pop music from around the world by a shifting group of writers, started as an offshoot of Stylus magazine but stopped publishing earlier in 2022. TSJ suggested what poptimism could be without commercial pressures. Rather than obligatory praise for the latest superstar releases, it dived into individual songs, treating pop as a genre that overlapped with the American mainstream but wasn’t restricted to it. And music journalism has migrated to other forms. Along with Pitchfork, YouTuber Anthony Fantano is likely its most influential present-day voice, but while he’s hugely popular, he’s working without corporate backing. Still, toxic positivity and consensus have taken over from the days when Charles Shaar Murray of the NME could get away with advising the Clash to kill themselves with carbon monoxide. And the dominance of the popular gets reinforced by direct harassment of critics. Few people think it’s worth risking doxing and death threats to write a negative review that might get paid a few hundred dollars at best. The reliance on music industry advertising has also contributed to timidity: the December 2022 issue of Mojo reviews well over 100 albums, including reissues, but only one (a collection of early Tinariwen demos) received a grade lower than three (out of five) stars. Still, I’m not sure “fall of the music press” is the best way to sum this up. Longer-form media like video essays and podcasts offer possibilities that haven’t existed in print for years. While the algorithm limits the possibilities of YouTube, leading to endless videos about Kanye West and Drake, the channel Bandsplaining, which has posted videos on the underground music scenes of Ukraine, China, Zambia and Peru, has 169,000 subscribers. The future of the press, music and otherwise, likely lies in video rather than the written word. Perhaps Gorman isn’t the best person to write it, but this book warrants a follow-up, examining the changing dynamics of music criticism and journalism in the 21st century.
correct_death_00084	FactBench	3	2	https://www.newmexicomusic.org/2015/11/16/diddley-bo/	en	Diddley, Bo – New Mexico Music Commission	https://www.newmexicomus…1/bo-diddley.jpg		[ "https://www.newmexicomusic.org/wp-content/uploads/2015/11/bo-diddley.jpg", "http://www.newmexicomusic.org/wp-content/uploads/2015/11/bo-diddley-236x300.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Bo_Diddley_beat.png/280px-Bo_Diddley_beat.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Loudspeaker.svg/11px-Loudspeaker.svg.png" ]	[]	[]	[ "" ]	null	[]	2015-11-16T00:00:00		en			https://www.newmexicomusic.org/2015/11/16/diddley-bo/	Bo Diddley ~ Los Lunas Bo (December 30, 1928 – June 2, 2008), born Ellas Otha Bates and changed as a child to Ellas McDaniel, was an R&B and Chicago Blues vocalist and guitarist. In addition, he was a songwriter and music producer, usually as Ellas McDaniel, and had cameo appearances in movies. He was nicknamed The Originator because of his key role in the transition from the blues to rock and roll, and rock, and influenced a host of acts, including Elvis Presley, Buddy Holly, the Beatles, the Rolling Stones, the Yardbirds, Eric Clapton, the Who, the Animals, Pink Floyd, the Velvet Underground, Jimi Hendrix, Parliament Funkadelic, and the Jesus and Mary Chain. Diddley lived in Los Lunas, New Mexico from 1971 to 1978, while continuing his musical career. He served for two and a half years as Deputy Sheriff in the Valencia County Citizens’ Patrol; during that time he purchased and donated three highway-patrol pursuit-cars. He instigated a constant driving rhythm and biting electric guitar sound which he applied to a wide range of songs. His use of African rhythms and a signature beat, a simple five-accent clave rhythm, is a cornerstone of hip hop, rock, and pop. In recognition of his achievements Bo Diddley was inducted into the Rock and Roll Hall of Fame and received Lifetime Achievement Awards from the Rhythm and Blues Foundation and a Grammy Award from the National Academy of Recording Arts and Sciences. He is also recognised for his technical innovations, including his trademark rectangular guitar. Early life and career Born in McComb, Mississippi, as Ellas Otha Bates, he was adopted and raised by his mother’s cousin, Gussie McDaniel, whose surname he assumed. In 1934, the McDaniel family moved to the largely black South Side area of Chicago, where the young Ellas dropped the name Otha and became simply Ellas McDaniel. In Chicago, he was an active member of the local Ebenezer Baptist Church, where he studied the trombone and the violin, becoming proficient enough on the violin for the musical director to invite him to join the orchestra, with which he performed until the age of 18. However, he was more taken by the pulsating, rhythmic music he heard at a local Pentecostal Church, and became interested in the guitar. Inspired by a John Lee Hooker performance, he supplemented his work as a carpenter and mechanic by playing on street corners with friends, including Jerome Green (c. 1934–1973), in the Hipsters band, later renamed the Langley Avenue Jive Cats. Green would become a near-constant member of McDaniel’s backing band, the two often trading joking insults with each other during live shows. During the summer of 1943–1944, he played at the Maxwell Street market in a band with Earl Hooker. By 1951 he was playing on the street with backing from Roosevelt Jackson on washtub bass, and Jody Williams, whom he had taught to play the guitar. Williams later played lead guitar on “Who Do You Love?” (1956). In 1951 he landed a regular spot at the 708 Club on Chicago’s South Side,with a repertoire influenced by Louis Jordan, John Lee Hooker, and Muddy Waters. In late 1954, he teamed up with harmonica player Billy Boy Arnold, drummer Clifton James and bass player Roosevelt Jackson, and recorded demos of “I’m A Man” and “Bo Diddley”. They re-recorded the songs at Chess Studios with a backing ensemble comprising Otis Spann (piano), Lester Davenport (harmonica), Frank Kirkland (drums), and Jerome Green (maracas). The record was released in March 1955, and the A-side, “Bo Diddley”, became a number one R&B hit. Origins of stage name The origin of the Bo Diddley stage name is unclear. McDaniel claimed that his peers gave him the name, which he suspected to be an insult.He also said that the name first belonged to a singer his adoptive mother knew, but harmonicist Billy Boy Arnold said that it was a local comedian’s name, which Leonard Chess adopted as McDaniel’s stage name and also for the title of his first single. Guitar craftsman Ed Roman stated that it was McDaniel’s nickname as a Golden Gloves boxer. A “diddley bow” is a homemade, American single-string instrument played mainly by workers in the southern fields. It probably has influences from the West African coast. In the American slang term, bo diddly, bo is an intensifier and diddly is a truncation of diddly squat, which means absolutely nothing. Success in the 1950s and 1960s On November 20, 1955, Bo Diddley appeared on the hugely popular Ed Sullivan TV show. The show asked him to sing “Sixteen Tons”, but instead he sang “Bo Diddley”. Ed Sullivan was infuriated and banned Bo Diddley from his show. He also said that Bo Diddley wouldn’t last six months. The request came about because the show’s staff heard Bo Diddley casually singing “Sixteen Tons” in the dressing room. Bo Diddley was a great storyteller but the slant tended to vary. He said that when he saw “Bo Diddley” on the cue-card, he thought he was to perform two songs: “Bo Diddley” and “Sixteen Tons”. Chess included Diddley’s “Sixteen Tons” on the 1960 album Bo Diddley Is a Gunslinger. Bo Diddley’s single hits continued in the 1950s and 1960s: “Pretty Thing” (1956), “Say Man” (1959), and “You Can’t Judge a Book by the Cover” (1962). He also released a string of albums: Bo Diddley Is a Gunslinger and Have Guitar, Will Travel. These bolstered his self-invented legend. Between 1958 and 1963, Checker Records released eleven full-length Bo Diddley albums. Although, in the 1960s, he broke through as a crossover artist with white audiences, appearing at the Alan Freed concerts for example, he rarely aimed his compositions at teenagers. The album title Surfing with Bo Diddley boasted his influence on surf guitarists rather than surfing per se. In 1963, Bo Diddley starred in a UK concert tour with the Everly Brothers and Little Richard. The up-and-coming Rolling Stones, were billed as a supporting act. Bo Diddley wrote many songs for himself, but he also wrote for others. In 1956 he and guitarist Jody Williams co-wrote the pioneering pop song “Love Is Strange”, a hit for Mickey & Sylvia in 1957. He also wrote “Mama (Can I Go Out)” which would become a minor hit for pioneering Rockabilly singer Jo Ann Campbell who performed the song in the 1959 Rock & Roll film Go Johnny Go. Bo Diddley included women in his band: Norma-Jean Wofford, also known as “The Duchess”; Gloria Jolivet; Peggy Jones, also known as “Lady Bo”, was a rare, for the time, female lead guitarist; Cornelia Redmond, also known as Cookie; Debby Hastings, who led his band for the final 25 years. After moving from Chicago to Washington, D.C., he set up one of the first home recording studios where he not only recorded the album Bo Diddley Is a Gunslinger but produced and recorded his valet, Marvin Gaye. The Bo Diddley-penned, “Wyatt Earp” was Gaye’s first single. It was released on Okeh Records, after Chess turned it down. During this time, Moonglows’ founder Harvey Fuqua sang backing vocals on many of Diddley’s home recordings. Gaye later joined the Moonglows and followed them to Motown. Later years Over the decades, Bo Diddley’s performing venues ranged from intimate clubs to stadiums. On March 25, 1972, he played with the Grateful Dead at the Academy of Music in New York City. The Grateful Dead released part of this concert as Volume 30 of the band’s Dick’s Picks concert album series. Also in the early 1970s, the soundtrack for the ground-breaking animated film Fritz the Cat contained his song “Bo Diddley”, in which a crow idly finger-pops along to the track. In the late 1970s, Diddley moved to Hawthorne, Florida where he lived on a large estate in a custom-made log-cabin home, which he helped to build. For the remainder of his life he spent time between Albuquerque and Florida, living the last 13 years of his life in Archer, Florida, a small farming town near Gainesville. In 1979, he appeared as an opening act for the Clash on their US tour; and in Legends of Guitar (filmed live in Spain, 1991) with B.B. King, Les Paul, Albert Collins, George Benson, among others. He joined the Rolling Stones as a guest on their 1994 concert broadcast of Voodoo Lounge, performing “Who Do You Love?” with the band. Sheryl Crow and Robert Cray also appeared on the pay-per-view special. Diddley’s final vocal performance on a studio album was with the band Munkeez Strikin’ Matchiz, on their 2005 album BananAtomic Mass. He co-wrote the song “Wreck it”, and was joined by Parliament-Funkadelic keyboardist Bernie Worrell and rapper Chuck D of Public Enemy. His final guitar performance on a studio album was with the New York Dolls on their 2006 album One Day It Will Please Us to Remember Even This. Bo contributed guitar work to the song “Seventeen”, which was included as a Bonus Track on the limited-edition version of the disc. Legal battle Bo Diddley fought sportswear brand Nike in his later years over alleged copyright infringement, specifically over the use of his likeness and the slogan “YOU DON’T KNOW DIDDLEY.” In 1989, Bo had worked with Nike on a commercial in the “Bo Knows” campaign, and had entered a licensing agreement with the company. However, the agreement ended in 1991. When Nike began selling the apparel again in 1999, Diddley did not feel that Nike should continue to use the slogan or his likeness. Despite the fact that lawyers for both parties could not come to a renewed legal arrangement, Nike allegedly continued marketing the apparel, and ignored cease and desist orders. The lawsuit was filed by Diddley’s attorney, John Rosenberg, in Manhattan Federal Court. Illness On May 13, 2007, Diddley was admitted to intensive care in Creighton University Medical Center in Omaha, Nebraska, following a stroke after a concert the previous day in Council Bluffs, Iowa. Starting the show, he had complained that he did not feel well. He referred to smoke from the wildfires that were ravaging South Georgia and blowing south to the area near his home in Archer, Florida. Nonetheless, he delivered an energetic performance to an enthusiastic crowd. The next day, as Diddley was heading back home, he seemed dazed and confused at the airport. His manager, Margo Lewis, called 911 and airport security and Diddley was immediately taken by ambulance to Creighton University Medical Center and admitted to the Intensive-care unit, where he stayed for several days. After tests, it was confirmed that he had suffered a stroke. Diddley had a history of hypertension and diabetes, and the stroke affected the left side of his brain, causing receptive and expressive aphasia (speech impairment). The stroke was followed by a heart attack, which he suffered in Gainesville, Florida, on August 28, 2007. While recovering from the stroke and heart attack, Diddley came back to his home town of McComb, Mississippi, in early November 2007, for the unveiling of a plaque devoted to him on the Mississippi Blues Trail. This marked his achievements and noted that he was “acclaimed as a founder of rock-and-roll.” He was not supposed to perform, but as he listened to the music of local musician Jesse Robinson, who sang a song written for this occasion, Robinson sensed that Bo wanted to perform and handed him a microphone. That was the first and last time that Bo Diddley performed publicly after suffering a stroke. Death Bo Diddley died on June 2, 2008 of heart failure at his home in Archer, Florida. Garry Mitchell, a grandson of Diddley and one of more than 35 family members at the musician’s home when he died at 1:45 am EDT (05:45 GMT), said his death was not unexpected. “There was a gospel song that was sung (at his bedside) and (when it was done) he said ‘wow’ with a thumbs up,” Mitchell told Reuters, when asked to describe the scene at Diddley’s deathbed. “The song was ‘Walk Around Heaven’ and in his last words he said ‘I’m going to heaven.'” His funeral, a four-hour “homegoing” service, took place on June 7, 2008 at Showers of Blessings Church in Gainesville, Florida, and kept in tune with the vibrant spirit of Bo Diddley’s life and career. The many in attendance chanted “Hey Bo Diddley” as a gospel band played the legend’s music. A number of notable musicians sent flowers, including: George Thorogood, Tom Petty and Jerry Lee Lewis. Little Richard, who had been asking his audiences to pray for Bo Diddley throughout his illness, had to fulfil concert commitments in Westbury and New York City the weekend of the funeral. He took time at both concerts to remember his friend of a half-century, performing Bo’s namesake tune in his honor. After the funeral service, a tribute concert was held at the Martin Luther King Center, also in Gainesville, and featured performances by his son and daughter, Anthony McDaniel and Evelyn Cooper, as well as long-time background vocalist Gloria Jolivet; co-producer and guitarist Scott “Skyntyte” Free; Bo’s touring band the Debby Hastings Band; and guest-artist Eric Burdon. In the days following his death, tributes were paid to Diddley by then-President George W. Bush, the United States House of Representatives, and an uncounted number of musicians and performers, including Eric Burdon, Elvis Costello, Ronnie Hawkins, Mick Jagger, B. B. King, Tom Petty, Robert Plant, Bonnie Raitt, George Thorogood, Robert Randolph and the Family Band, Eric Clapton and Ronnie Wood. He was posthumously awarded a Doctor of Fine Arts degree by the University of Florida for his influence on American popular music. In its “People in America” radio series about influential people in American history, the Voice of America radio service paid tribute to him, describing how “his influence was so widespread that it is hard to imagine what rock and roll would have sounded like without him.” Mick Jagger stated that, “he was a wonderful, original musician who was an enormous force in music and was a big influence on the Rolling Stones. He was very generous to us in our early years and we learned a lot from him”. Jagger also praised the late star as a one-of-a-kind musician, adding, “We will never see his like again”. The documentary film Cheat You Fair: The Story of Maxwell Street by director Phil Ranstrom features Bo Diddley’s last on-camera interview. In November 2009, the guitar used by Diddley in his final stage performance sold for $60,000 at auction. Accolades Bo Diddley achieved numerous accolades in recognition of his significant role as one of the founding fathers of rock and roll. 1986: inducted into the Washington Area Music Association’s Hall of Fame. 1987: inducted the Rock and Roll Hall of Fame and the Rockabilly Hall of Fame. 1990: Lifetime Achievement Award from Guitar Player magazine. 1998: Lifetime Achievement Awards from the Rhythm and Blues Foundation and the National Academy of Recording Arts and Sciences. 1999: His 1955 recording of his song “Bo Diddley” inducted into the Grammy Hall of Fame as a recording of lasting qualitative or historical significance. 2000: Inducted into the Mississippi Musicians Hall of Fame and into the North Florida Music Association’s Hall of Fame. 2002: Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters 2002: Bo Diddley was honored as one of the first BMI Icons at the 50th annual BMI Pop Awards. He was presented the award along with BMI affiliates Chuck Berry and Little Richard. 2008: Although confirmed before his death in June 2008, an honorary degree was posthumously conferred upon Diddley by the University of Florida in August 2008. 2009: Florida’s Secretary of State announces Bo’s induction into the Florida Artists Hall of Fame (induction to occur during Florida Heritage Month, March 2010). 2010: Bo Diddley was inducted into the Hit Parade Hall of Fame. In 2003, U.S. Representative John Conyers paid tribute to Bo Diddley in the United States House of Representatives describing him as “one of the true pioneers of rock and roll, who has influenced generations”. In 2004, Mickey and Sylvia’s 1956 recording of “Love Is Strange” (a song first recorded by Diddley but not released until a year before his death) was inducted into the Grammy Hall of Fame as a recording of qualitative or historical significance, and he was inducted into the Blues Foundation’s Blues Hall of Fame. In 2004, Rolling Stone ranked him No. 20 on their list of the 100 Greatest Artists of All Time. In 2005, Bo Diddley celebrated his 50th anniversary in music with successful tours of Australia and Europe, and with coast-to-coast shows across North America. He performed his song “Bo Diddley” with Eric Clapton, Robbie Robertson and longtime bassist and musical director Debby Hastings at the Rock and Roll Hall of Fame’s 20th annual induction ceremony. In the UK, Uncut magazine included his 1957 debut album “Bo Diddley” in its listing of the ‘100 Music, Movie & TV Moments That Have Changed The World’. In 2006, Bo Diddley participated as the headliner of a grassroots organized fundraiser concert, to benefit the town of Ocean Springs, Mississippi, which had been devastated by Hurricane Katrina. The “Florida Keys for Katrina Relief” had originally been set for October 23, 2005, when Hurricane Wilma barreled through the Florida Keys on October 24, causing flooding and economic mayhem. In January 2006, the Florida Keys had recovered enough to host the fundraising concert to benefit the more hard-hit community of Ocean Springs. When asked about the fundraiser Bo Diddley stated, “This is the United States of America. We believe in helping one another”. In an interview with Holger Petersen, on Saturday Night Blues on CBC Radio in the fall of 2006 Bo Diddley commented about the racism that existed in the music industry establishment during the early part of his career, that saw him deprived of royalties from the most successful part of his career. Bo Diddley performed a number of shows around the country in 2005 and 2006 with the fellow Rock and Roll Hall of Famer Johnnie Johnson Band, featuring Johnson on keyboards, Richard Hunt on drums and Gus Thornton on bass. From 1985 until he died, his touring band consisted of Debby Hastings (bassist and musical director); Jim Satten (guitarist, band leader, musical director); Scott “Skyntyte” Free, Nunzio Signore or Frank Daley (guitar); Tom Major, Dave Johnson, Yoshi Shimada, Mike Fink or Sandy Gennaro (drums); John Margolis, Dave Keys or Bo’s personal manager, Margo Lewis (keyboards). Bo Diddley was honored by the Mississippi Blues Commission with a Mississippi Blues Trail historic marker placed in McComb, his birthplace, in recognition of his enormous contribution to the development of the blues in Mississippi. On June 5, 2009 the city of Gainesville, Florida, officially renamed and dedicated its downtown plaza the Bo Diddley Community Plaza. The plaza was the site of many benefit concerts at which Bo Diddley performed during his lifetime to raise awareness about the plight of the homeless in Alachua County, and to raise money for local charities, as well as the Red Cross. The Bo Diddley beat Bo Diddley is well known for the Bo Diddley beat, which is essentially the clave rhythm, and one of the most common bell patterns found in sub-Saharan African music traditions. Tamlyn found this rhythm in 13 rhythm and blues recordings made in the years 1944–55, including two by Johnny Otis from 1948. Bo Diddley has given different accounts regarding how he began to use this rhythm. Sublette asserts: “In the context of the time, and especially those maracas [heard on the record], ‘Bo Diddley’ has to be understood as a Latin-tinged record. A rejected cut recorded at the same session was titled only ‘Rhumba’ on the track sheets.” The Bo Diddley beat is similar to “hambone”, a style used by street performers who play out the beat by slapping and patting their arms, legs, chest, and cheeks while chanting rhymes. Somewhat resembling “shave and a haircut, two bits” rhythm, Diddley came across it while trying to play Gene Autry’s “(I’ve Got Spurs That) Jingle, Jangle, Jingle”. Three years before Bo’s “Bo Diddley”, a song similar syncopation “Hambone”, was cut by Red Saunders’ Orchestra with The Hambone Kids. In 1944, “Rum and Coca Cola”, containing the Bo Diddley beat, was recorded by the Andrews Sisters and later Buddy Holly’s “Not Fade Away” (1957) and Them’s “Mystic Eyes” (1965) used the beat. In its simplest form, the Bo Diddley beat can be counted out as either a one-bar, or a two-bar phrase. Here is the count as a one-bar phrase: One e and ah, two e and ah, three e and ah, four e and ah. The bolded counts are the clave rhythm. Many songs (for example, “Hey Bo Diddley” and “Who Do You Love?”) often have no chord changes; that is, the musicians play the same chord throughout the piece, so that the rhythms create the excitement, rather than having the excitement generated by harmonic tension and release. In his other recordings, Bo Diddley used a variety of rhythms, from straight back beat to pop ballad style to doo-wop, frequently with maracas by Jerome Green. Also an influential guitar player, he developed many special effects and other innovations in tone and attack. Bo Diddley’s trademark instrument was the rectangular-bodied Gretsch nicknamed the “Twang Machine” (referred to as “cigar-box shaped” by music promoter Dick Clark). Although he had other odd-shaped guitars custom-made for him by other manufacturers throughout the years, most notably the “Cadillac” and the rectangular “Turbo 5-speed” (with built-in envelope filter, flanger and delay) designs made by Tom Holmes (who also made guitars for ZZ Top’s Billy Gibbons, among others), Diddley fashioned the square guitar himself around 1958 and wielded it in thousands of concerts over the years. In a 2005 interview on JJJ radio in Australia, Bo implied that the design sprang from an embarrassing moment. During an early gig, while jumping around on stage with a Gibson L5 guitar, he landed awkwardly hurting his groin. He then went about designing a smaller, less restrictive guitar that allowed him to keep jumping around on stage while still playing his guitar. He also played the violin, which is featured on his mournful instrumental “The Clock Strikes Twelve”, a twelve-bar blues. He often created lyrics as witty and humorous adaptations of folk music themes. The song “Bo Diddley” was based on the African American clapping rhyme “Hambone” (which in turn was based on the lullaby “Hush Little Baby”). Likewise, “Hey Bo Diddley” is based on the song “Old MacDonald”. The rap-style boasting of “Who Do You Love?”, a wordplay on hoodoo, used many striking lyrics from the African-American tradition of toasts and boasts. His “Say Man” and “Say Man, Back Again,” both of which were later cited as progenerators of hip-hop music, share a strong connection to the insult game known as “the dozens”. For example: “You got the nerve to call somebody ugly. Why you so ugly, the stork that brought you into the world ought to be arrested”. Discography Main article: Bo Diddley discography Books George R. White, Living Legend, Sanctuary Publishing Ltd, 1995. Laurent Arsicaud, Bo Diddley, Je suis un homme, Camion Blanc editions, 2012. https://www.youtube.com/watch?v=jEKTrWHdINI above: Recorded Live: 11/2/1972 – Hofstra University (Hempstead, NY) for more information: bodiddley.com
correct_death_00084	FactBench	1	81	https://teachrock.org/people/diddley-bo/	en	Bo Diddley	https://teachrock.org/wp…ds/bodiddley.jpg	https://teachrock.org/wp…ds/bodiddley.jpg	[ "https://www.facebook.com/tr?id=240345683375370&ev=PageView&noscript=1", "https://teachrock.wpenginepowered.com/wp-content/uploads/tr-logo-alt.png", "https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/tr-login-banner.jpg", "https://teachrock.wpenginepowered.com/wp-content/uploads/bodiddley.jpg", "https://teachrock.wpenginepowered.com/wp-content/uploads/bodiddley-380x250.jpg", "https://teachrock.wpenginepowered.com/wp-content/uploads/Chuck_Berry_Roll_Over_Beethoven-380x250.png", "https://teachrock.wpenginepowered.com/wp-content/uploads/300x300_Bo_Diddley_1950s-380x250.png", "https://teachrock.wpenginepowered.com/wp-content/uploads/300x300_Bo_Diddley_1965-380x250.png", "https://teachrock.wpenginepowered.com/wp-content/uploads/BoDiddley_interview_RITY.jpg", "https://teachrock.wpenginepowered.com/wp-content/uploads/300x300_Bo_Diddley_Who_Do_You_Love_1956-380x250.png", "https://teachrock.wpenginepowered.com/wp-content/uploads/Bo_Diddley_Sheet_Music.png", "https://teachrock.wpenginepowered.com/wp-content/uploads/bodiddley.jpg", "https://teachrock.wpenginepowered.com/wp-content/uploads/Ned_Sublette_Quote_About_Bo_Diddley.png", "https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/tr-group-footer.png" ]	[]	[]	[ "" ]	null	[]	2017-01-04T19:29:33+00:00		en	https://teachrock.wpenginepowered.com/wp-content/themes/TeachRock/images/favicon.ico	TeachRock	https://teachrock.org/people/diddley-bo/	(1928-2008) In the early 1950s, Bo Diddley created a trademark sound that brought together aspects of Blues, Gospel and R&B with Latin and African rhythms. In the process, Diddley (a.k.a. “The Originator”) became one of the early giants of Rock and Roll, widely credited as one of the genre’s pioneers. Diddley was born Otha Ellas Bates in southern Mississippi in 1928. Raised by his mother’s cousin, he moved north with her family to Chicago at the age of 6, and took her last name, becoming Ellas McDaniel. Growing up on the city’s South Side, he was an active member of his local Baptist church, and studied trombone and classical violin. Inspired in part by hearing Bluesman John Lee Hooker, Diddley turned his attention to the electric guitar in his late teens. He put together a band and started playing for tips on street corners, eventually graduating to a local clubs He developed a unique style of pulsating, rhythmic music with his electric guitar in the forefront, utilizing then-innovative effects like tremolo and distortion, and writing clever, wisecracking songs often featuring a syncopated rhythm (“shave-and-a-haircut, two bits”) that would come to be known as the Bo Diddley Beat. This primal beat (bomp-ba-domp-ba-domp, ba-domp-domp) would be incorporated into scores of well known Rock and Roll records, from Buddy Holly’s “Not Fade Away” to the Who’s “Magic Bus,” to U2's "Desire." Diddley signed to Chicago’s Chess Records and recorded his first single, “Bo Diddley,” backed with “I’m A Man.” Released in March of 1955, the record was a success and spawned a long string of recordings that combined the grit of the Blues, the swing of R&B, a measure of streetwise humor and a dose of eccentricity into something that’s not easily categorized. Diddley proved popular as a live performer, with his hypnotic, driving rhythms, plaid suit jackets, rectangular Gretsch guitar, female band members and nonstop movement and clowning on stage. A prolific songwriter, Diddley continued to record even as he faded from the limelight, releasing more than 25 albums throughout his career, the last in 1996. His songs — “Bo Diddley,” “Who Do You Love.” “Mona,” “Pretty Thing” — have been covered countless times, and he’s been cited as an influence by acts from the Rolling Stones and the Animals to the New York Dolls and the Clash (who tapped Diddley as an opening act on their 1979 tour). He continued to record and tour until his death from a heart attack in 2008.
correct_death_00084	FactBench	0	34	https://news.ufl.edu/2019/03/bo-diddley-collection-at-uf-honors-the-originator/	en	Ellas B. McDaniel (Bo Diddley) Collection at UF honors legacy of “The Originator”	https://news.ufl.edu/med…s/2019/04/bo.png	https://news.ufl.edu/med…s/2019/04/bo.png	[ "https://news.ufl.edu/media/templates/uf2015/img/logo-uf.svg", "https://news.ufl.edu/media/newsufledu/images/2019/04/bo.png", "https://news.ufl.edu/media/newsufledu/images/2019/04/IMG_4366.JPG", "https://news.ufl.edu/media/newsufledu/images/2019/04/IMG_4350.JPG", "https://news.ufl.edu/media/templates/uf-news-2018/img/uf_logo_white.svg" ]	[ "https://giphy.com/embed/pP3r7cF4nIcmzDI0dA" ]	[]	[ "bo Diddley", "bo Diddley at UF" ]	null	[]	null	<p>The Ellas B. McDaniel Collection holds an array of items reflecting the musical genius, public performance, and accomplishments of McDaniel, who lived the latter portion of his life in Archer, Fla., near the University of Florida.</p>	en	/media/templates/uf2015/img/favicon.ico		null	Florida and African-American history collections at the University of Florida have taken a major step forward with the new Ellas B. McDaniel (Bo Diddley) Collection, which will be available to scholars, students, and the public. Bo Diddley is widely considered one of the founders of rock and roll who shaped the evolution of that new form of American music. The Ellas B. McDaniel Collection holds an array of items reflecting the musical genius, public performance and accomplishments of McDaniel, who lived the latter portion of his life in Archer, Fla., near the UF campus. His extended family continues to live in the Archer area. The collection, established by the George A. Smathers Libraries in collaboration with the Ellas B. McDaniel Irrevocable Trust, ensures the preservation of and access to historical materials of international significance that have particular importance to Floridians. Bo Diddley brought rhythm and blues elements into the new genre and articulated musical elements that became enduring influences on rock, hip hop and popular music. His historical significance extends into numerous other areas, and the collection will open avenues for better understanding technical and performance innovation, international influences in American music, and race and gender in the entertainment industry. The Ellas B. McDaniel (Bo Diddley) Collection will support teaching and research about his many contributions to American music, while ensuring that a substantial collection of materials can be made accessible locally and through national outreach. The George A. Smathers Libraries acquired musical instruments, stage costumes, posters, photographs, documents, and memorabilia from the Ellas B. McDaniel Irrevocable Trust, ensuring that the largest institutional holding of historical materials about Bo Diddley remains close to where he lived the latter portion of his life. A partnership with the Samuel Proctor Oral History Program at UF will enable the Libraries to begin collecting oral histories in the near future, with curators placing a priority on documenting memories of Bo Diddley from his family, fellow musicians, and the Gainesville community. The archival collection will be stewarded by the Special Collections and Area Studies Department of the George A. Smathers Libraries with assistance from library specialists. Library experts in Florida history, music, African American studies, and popular culture are working with conservators of rare materials and an exhibitions team to ensure preservation and public display of materials in Gainesville and across the United States. The collection is now open to scholars, students, and the public conducting research in Smathers Library, and the exhibition “Bo Diddley: An American Original” will be on display through June 30 (see sidebar). The collection preserves and documents evidence of the innovation, creativity, achievement and enduring impact of his work. McDaniel’s syncopated beats and powerful stage presence inspired numerous other musicians to incorporate the Bo Diddley Beat and his mannerisms into their own performances. He experimented with guitar design and amplification technologies, directly shaping the popularity of commercial guitar models and achieving new acoustic effects during live stage performances. His technical innovations added to his influence. Known as Bo Diddley since his early days as a musician, he was born in Mississippi in 1928. He began his musical career in Chicago, lived in Washington, D.C., and resided in New Mexico and Florida, before passing away in 2008 in Archer, Florida. His extended family and a network of fellow musicians, fans, and local supporters continue to live in the greater Gainesville area. Placement of the materials at UF ensures regular public display of an array of historical materials, a high quality preservation environment, secure use of the collection and an institutional commitment to the continued promotion of his musical legacy near a community tied closely to McDaniel, as well as to national audiences. Curators and conservators at the Smathers Libraries identified materials held by the Trust that could be preserved, studied, and exhibited, carefully reviewing and storing materials in boxes and containers designed to ensure long-term preservation of items. While guitars may remain in their original cases at present, conservators separated clothing with tissue paper in boxes made with acid-free paper. Posters are being treated to make them more flexible, with humidifiers adding the right amount of moisture to allow them to be flattened rather than rolled up. Each of the boxes and items selected for the collection undergoes a series of evaluations and treatments before being made available to researchers or for exhibitions. Archival staff are working to create descriptions of and to arrange artifacts and paper documents so that they can become accessible to researchers. The descriptions will become part of a finding aid placed online so that those wishing to see the collection can ask for specific materials of interest. Many items cannot be digitized due to copyright issues, but the staff will work to ensure maximum access to images through the UF Digital Collections, which currently offers public access to more than 14 million digital images for free. A continuing relationship with the Ellas B. McDaniel Irrevocable Trust will enable UF to further enrich exhibitions and programs. With the Samuel Proctor Oral History Program at UF, the Libraries intend to create, preserve, and make available oral histories focusing on Bo Diddley, whom the university awarded an honorary posthumous doctorate of fine arts in 2008. The City of Gainesville renamed the outdoor concert venue in its historic downtown the Bo Diddley Community Plaza that same year, honoring his legacy. McDaniel’s body of work performing as Bo Diddley created a bridge between the genres of rhythm and blues and rock and roll, plucking elements from a variety of musical traditions and transforming them into a signature style. Performers from Elvis Presley to today’s hip hop and pop artists adopted and adapted that style for their own music. Throughout a career from the mid twentieth century to the early twenty-first century, his genius earned him the nickname “The Originator” because of how frequently fellow musicians integrated his innovations into their own styles and performances. Bo Diddley’s ability to ingenuity in rhythm, songwriting, performing techniques and band composition challenged and intrigued critics and audiences. He simplified chords dramatically to focus on powerful rhythms. He pared down harmonic structures, emphatically employing a two-bar syncopation from a rhythm of African origin. Bo Diddley experimented with and refined tremolo effects early in his career, and a rectangular guitar produced to his specifications by Gretsch became his signature instrument. He also broke barriers by prominently featuring female guitarists in his band, unlike any other major male rhythm and blues artist of his day. He struggled to achieve financial success in equal measure to his influence and the popularity of his music. Like too many African American musicians of the twentieth century, early management contracts positioned him unequally in terms of profiting from his own achievements. Elvis Presley and other artists incorporated elements of Bo Diddley’s muscular stage movements into their own performances, and others picked up his signature beat. In 1987, he was inducted into the Rock and Roll Hall of Fame, with a Nike commercial a few years afterward highlighting his ongoing name recognition in popular culture. He continued performing until late in life, earning a Grammy nomination and a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in the late 1990s, among other awards.
correct_death_00084	FactBench	1	97	https://www.alamy.com/family-members-and-friends-grieve-at-the-funeral-of-musical-legend-bo-diddley-at-his-funeral-in-gainesville-fla-saturday-june-7-2008-bo-diddley-died-june-2-2008-of-congestive-heart-failure-ap-photophil-sandlin-image525997705.html	en	Family members and friends grieve at the funeral of musical legend Bo Diddley at his funeral in Gainesville, Fla. Saturday, June 7, 2008. Bo Diddley died June 2, 2008 of congestive heart failure. (AP	https://c7.alamy.com/com…dlin-2NFN7C9.jpg	https://c7.alamy.com/com…dlin-2NFN7C9.jpg	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "" ]	null	[ "Alamy Limited" ]	null	Download this stock image: Family members and friends grieve at the funeral of musical legend Bo Diddley at his funeral in Gainesville, Fla. Saturday, June 7, 2008. Bo Diddley died June 2, 2008 of congestive heart failure. (AP Photo/Phil Sandlin - 2NFN7C9 from Alamy's library of millions of high resolution stock photos, illustrations and vectors.	en	https://s.alamy.com/logo…avicon-16x16.png		https://www.alamy.com/family-members-and-friends-grieve-at-the-funeral-of-musical-legend-bo-diddley-at-his-funeral-in-gainesville-fla-saturday-june-7-2008-bo-diddley-died-june-2-2008-of-congestive-heart-failure-ap-photophil-sandlin-image525997705.html	You can only use this image in editorial media and for personal use. Editorial media includes use as a visual reference to support your article, story, critique or educational text. Personal use allows you to make a single personal print, card or gift for non-commercial use. Not for resale. It shouldn't be used for commercial use which includes advertising, marketing, promotion, packaging, advertorials, and consumer or merchandising products.
correct_death_00084	FactBench	3	61	https://surfguitar101.com/forums/post/79544/	en	Forums: Bo Diddley Passes	http://surfguitar101.com/media/podcast/podcast_logo.jpg	http://surfguitar101.com/media/podcast/podcast_logo.jpg	[ "https://surfguitar101.com/static/themes/kds/sgLogo.cda474605bf7.png", "https://surfguitar101.com/static/icons/new.eedab45a0090.png", "https://surfguitar101.com/static/icons/new.eedab45a0090.png", "https://surfguitar101.com/media/potd/2011/05/25/thumbs/space_cossacks_reunion_va.jpg", "https://surfguitar101.com/media/smiley/images/bigrazz.gif", "https://surfguitar101.com/static/icons/cake.27643556a689.png", "https://surfguitar101.com/static/icons/cake.27643556a689.png", "https://surfguitar101.com/static/images/sg101-celebrating.5e2884b79ef1.jpg", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/media/avatars/default.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/WoodyJ35097716.jpg", "https://surfguitar101.com/static/flags/24/us.25cc990197f6.png", "https://surfguitar101.com/media/badges/disk.png", "https://surfguitar101.com/media/badges/money_dollar.png", "https://surfguitar101.com/media/badges/shield.png", "https://surfguitar101.com/media/badges/camera.png", "https://surfguitar101.com/media/badges/map.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/media/smiley/images/icon_cry_1.gif", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/HBkahuna40234516.jpg", "https://surfguitar101.com/static/flags/24/us.25cc990197f6.png", "https://surfguitar101.com/media/badges/newspaper.png", "https://surfguitar101.com/media/badges/date.png", "https://surfguitar101.com/media/badges/world_link.png", "https://surfguitar101.com/media/badges/disk.png", "https://surfguitar101.com/media/badges/camera.png", "https://surfguitar101.com/media/badges/award_star_gold_3.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/default.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/seafoam_johnny.bmp", "https://surfguitar101.com/media/badges/money_dollar.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/Tuck/m_01c041fc61a0424c9ee7c79683baa840.jpg", "https://surfguitar101.com/media/badges/date.png", "https://surfguitar101.com/media/badges/world_link.png", "https://surfguitar101.com/media/badges/money_dollar.png", "https://surfguitar101.com/media/badges/shield.png", "https://surfguitar101.com/media/badges/camera.png", "https://surfguitar101.com/media/badges/map.png", "https://surfguitar101.com/media/badges/award_star_gold_3.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/Sonichris11438329.jpg", "https://surfguitar101.com/static/flags/24/us.25cc990197f6.png", "https://surfguitar101.com/media/badges/newspaper.png", "https://surfguitar101.com/media/badges/disk.png", "https://surfguitar101.com/media/badges/money_dollar.png", "https://surfguitar101.com/media/badges/shield.png", "https://surfguitar101.com/media/badges/camera.png", "https://surfguitar101.com/media/badges/map.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/media/smiley/images/icon_iagree.gif", "https://surfguitar101.com/media/smiley/images/icon_lol.gif", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/users/Spud.jpg", "https://surfguitar101.com/media/badges/newspaper.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/default.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/media/avatars/default.png", "https://surfguitar101.com/static/icons/link.a5dc8319bff0.png", "https://surfguitar101.com/media/smiley/images/icon_cry_1.gif", "https://surfguitar101.com/media/smiley/images/icon_exclaim.gif", "https://surfguitar101.com/media/smiley/images/icon_exclaim.gif", "https://surfguitar101.com/media/smiley/images/icon_exclaim.gif", "https://surfguitar101.com/media/smiley/images/icon_exclaim.gif", "https://surfguitar101.com/media/smiley/images/icon_exclaim.gif", "https://surfguitar101.com/static/icons/flag_red.d5c637d85a8d.png", "https://surfguitar101.com/static/logos/surferjoe.48014f3a61cf.jpg", "https://surfguitar101.com/static/logos/surfmusicforum.21470b334144.png", "https://surfguitar101.com/static/logos/nesma.d7123c885ae8.png", "https://surfguitar101.com/static/logos/hangnine.fdfacf396a2c.png", "https://surfguitar101.com/static/logos/northsea.51fd2d19131e.png", "https://surfguitar101.com/static/logos/fiberglass.ddfba7c94e57.png", "https://surfguitar101.com/static/logos/madrid.0c7a8405c880.png", "https://surfguitar101.com/static/logos/surforama.d0a307931a28.png", "https://surfguitar101.com/static/logos/endless.181016580a61.png", "https://surfguitar101.com/static/logos/abierto.5426877cc781.png", "https://surfguitar101.com/static/logos/doublecrown.a40d800174dd.png", "https://surfguitar101.com/static/logos/greencookie.2e860155f4c4.png", "https://surfguitar101.com/static/logos/deepeddy.9f1e8012f8ff.png", "https://surfguitar101.com/static/logos/rfb.fddcae5698e0.png", "https://surfguitar101.com/static/logos/planeta_reverb.51f9a869a78d.png", "https://surfguitar101.com/static/logos/reverb_junkies.8465be97390c.png", "https://surfguitar101.com/static/logos/southern_surf_stomp.6c9c2d07725a.png", "https://surfguitar101.com/static/logos/nocturne_brain.e87b4ace25ef.png", "https://surfguitar101.com/static/logos/surfabilly_freakout.b98313cc52d8.png", "https://surfguitar101.com/static/logos/reverb_brazil.c2c8d6362589.jpg", "https://surfguitar101.com/static/logos/hi-tide.5404d38a7c57.png" ]	[]	[]	[ "" ]	null	[ "Brian Neal" ]	null	Forum topic created by Billyboy on June 02, 2008.	en	/static/favicon.4492f57fcc7d.ico	SurfGuitar101.com	https://surfguitar101.com/forums/topic/5928/	JACKSONVILLE, Fla. - Bo Diddley, a founding father of rock 'n' roll whose distinctive "shave and a haircut, two bits" rhythm and innovative guitar effects inspired legions of other musicians, died Monday after months of ill health. He was 79. Diddley died of heart failure at his home in Archer, Fla., spokeswoman Susan Clary said. He had suffered a heart attack in August, three months after suffering a stroke while touring in Iowa. Doctors said the stroke affected his ability to speak, and he had returned to Florida to continue rehabilitation. The legendary singer and performer, known for his homemade square guitar, dark glasses and black hat, was an inductee into the Rock and Roll Hall of Fame, had a star on Hollywood's Walk of Fame, and received a lifetime achievement award in 1999 at the Grammy Awards. In recent years he also played for the elder President Bush and President Clinton. Diddley appreciated the honors he received, "but it didn't put no figures in my checkbook." "If you ain't got no money, ain't nobody calls you honey," he quipped. The name Bo Diddley came from other youngsters when he was growing up in Chicago, he said in a 1999 interview. "I don't know where the kids got it, but the kids in grammar school gave me that name," he said, adding that he liked it so it became his stage name. Other times, he gave somewhat differing stories on where he got the name. Some experts believe a possible source for the name is a one-string instrument used in traditional blues music called a diddley bow. His first single, "Bo Diddley," introduced record buyers in 1955 to his signature rhythm: bomp ba-bomp bomp, bomp bomp, often summarized as "shave and a haircut, two bits." The B side, "I'm a Man," with its slightly humorous take on macho pride, also became a rock standard. The company that issued his early songs was Chess-Checkers records, the storied Chicago-based labels that also recorded Chuck Berry and other stars. Howard Kramer, assistant curator of the Rock and Roll Hall of Fame in Cleveland, said in 2006 that Diddley's Chess recordings "stand among the best singular recordings of the 20th century." Diddley's other major songs included, "Say Man," "You Can't Judge a Book by Its Cover," "Shave and a Haircut," "Uncle John," "Who Do You Love?" and "The Mule." Diddley's influence was felt on both sides of the Atlantic. Buddy Holly borrowed the bomp ba-bomp bomp, bomp bomp rhythm for his song "Not Fade Away." The Rolling Stones' bluesy remake of that Holly song gave them their first chart single in the United States, in 1964. The following year, another British band, the Yardbirds, had a Top 20 hit in the U.S. with their version of "I'm a Man." Diddley was also one of the pioneers of the electric guitar, adding reverb and tremelo effects. He even rigged some of his guitars himself. "He treats it like it was a drum, very rhythmic," E. Michael Harrington, professor of music theory and composition at Belmont University in Nashville, Tenn., said in 2006. Many other artists, including the Who, Bruce Springsteen and Elvis Costello copied aspects of Diddley's style. Growing up, Diddley said he had no musical idols, and he wasn't entirely pleased that others drew on his innovations. "I don't like to copy anybody. Everybody tries to do what I do, update it," he said. "I don't have any idols I copied after." "They copied everything I did, upgraded it, messed it up. It seems to me that nobody can come up with their own thing, they have to put a little bit of Bo Diddley there," he said. Despite his success, Diddley claimed he only received a small portion of the money he made during his career. Partly as a result, he continued to tour and record music until his stroke. Between tours, he made his home near Gainesville in north Florida. "Seventy ain't nothing but a damn number," he told The Associated Press in 1999. "I'm writing and creating new stuff and putting together new different things. Trying to stay out there and roll with the punches. I ain't quit yet." Diddley, like other artists of his generations, was paid a flat fee for his recordings and said he received no royalty payments on record sales. He also said he was never paid for many of his performances. "I am owed. I've never got paid," he said. "A dude with a pencil is worse than a cat with a machine gun." In the early 1950s, Diddley said, disc jockeys called his type of music, "Jungle Music." It was Cleveland disc jockey Alan Freed who is credited with inventing the term "rock 'n' roll." Diddley said Freed was talking about him, when he introduced him, saying, "Here is a man with an original sound, who is going to rock and roll you right out of your seat." Diddley won attention from a new generation in 1989 when he took part in the "Bo Knows" ad campaign for Nike, built around football and baseball star Bo Jackson. Commenting on Jackson's guitar skills, Diddley turned to the camera and said, "He don't know Diddley." "I never could figure out what it had to do with shoes, but it worked," Diddley said. "I got into a lot of new front rooms on the tube." Born as Ellas Bates on Dec. 30, 1928, in McComb, Miss., Diddley was later adopted by his mother's cousin and took on the name Ellis McDaniel, which his wife always called him. When he was 5, his family moved to Chicago, where he learned the violin at the Ebenezer Baptist Church. He learned guitar at 10 and entertained passers-by on street corners. By his early teens, Diddley was playing Chicago's Maxwell Street. "I came out of school and made something out of myself. I am known all over the globe, all over the world. There are guys who have done a lot of things that don't have the same impact that I had," he said. The explanation of Bo Diddley that I've seen before is that it's an old or regional (Southeastern USA), hence ethnic, expression equivalent to the currently more widely familiar jack squat, which is a slightly obscure equivalent to jack shit, which I think is pan-English. There's also diddley shit. Pretty much any English slang term involving jack or diddy or diddley is a sexual reference. Check Spears' dictionary of Slang and Euphemism. (It doesn't list bo diddley.) Literally they all seem etymologically to be references to semen. I won't go into the details here, but once you know what a 'jack' (as in a jack ass) is or a 'bo' (beau), and understand the verbal sense of 'to diddle', it's all pretty clear. The figurative sense, and for most people the only clear meaning is 'something of no significance at all'. Etymology can be wonderfully revealing, but most people swim on the surface of language. Wisely, it appears. Of course, 'shit' and sometimes 'squat' are widely perceived as words to be avoided in polite company, so everyone knows that jack shit must not be polite either. Incidentally, I take it for granted that you're all polite company most of the time, but etymology can't afford to trip over euphemism. The word play in alll of these forms is that they resemble names and so can be used as double entendres. Examples: "You ain't ~." ("Oh yes I am, ask %.") "You don't know ~." ("Nope. Never heard of him.") There's a computer game "You Don't Know Jack" that uses a variant of the double entendre in its name. Diddley bow sounds a bit like another double entendre to me. Additional examples: "I wouldn't give ~ for that." "I haven't done ~ all day." I gather that Ellas "Bo Diddley" McDaniel's stage name and nickname is usually considered to be a witticism in this vein. (He did start out on violin as a kid, though.) The name fits the beat, of course, and, however he came by it or whatever sense he made of it, it let him take a modest pose while singing about himself as a sort of sly antihero. Like the Jack in traditional Jack Stories. He ended up a musical giant, while ironically calling himself 'nothing much'. A little note for any Exotic fans: I have the impression that one of the senses of zorongo in Spanish and Portuguese is more or less 'something insignificant'. However, that's from on line contexts turned up by googling. It's not in my dictionaries, which tend to take the official line on what is known vocabulary.
correct_death_00084	FactBench	1	78	https://www.physicsforums.com/threads/rip-bo-diddley-king-of-rock-n-roll-dead-at-79.238354/	en	RIP Bo Diddley: King of Rock n' Roll Dead at 79	https://www.physicsforum…rums-logo-og.png	https://www.physicsforum…rums-logo-og.png	[ "https://www.physicsforums.com/styles/physicsforums/xenforo/logo.png", "https://www.physicsforums.com/styles/physicsforums/xenforo/logosmall.png" ]	[]	[]	[ "" ]	null	[]	2008-06-02T11:27:33-05:00	Sad news. http://www.msnbc.msn.com/id/24933262/"	en	https://www.physicsforum…ums_logo_192.png	Physics Forums: Science Discussion, Homework Help, Articles	https://www.physicsforums.com/threads/rip-bo-diddley-king-of-rock-n-roll-dead-at-79.238354/	In summary, Bo Diddley was an American musician and songwriter who pioneered rock and roll music with his unique guitar playing style and influential songs such as "Bo Diddley" and "I'm a Man". He passed away in 2008 at the age of 79 from heart failure. Some of his most famous songs include "Bo Diddley", "Who Do You Love?", "I'm a Man", and "Mona". He contributed to the development of rock and roll music by incorporating rhythm and blues, gospel, and African music into his songs and influencing other artists. His legacy is his significant impact on the genre and he has been honored with a spot in the Rock and Roll Hall of Fame and numerous awards. His Related to RIP Bo Diddley: King of Rock n' Roll Dead at 79 1. Who was Bo Diddley? Bo Diddley, born Ellas Otha Bates, was an American musician and songwriter who is considered one of the pioneers of rock and roll music. He was known for his unique guitar playing style and his influential songs such as "Bo Diddley" and "I'm a Man". 2. How did Bo Diddley die? Bo Diddley passed away on June 2, 2008 at the age of 79. He died of heart failure at his home in Archer, Florida. 3. What are some of Bo Diddley's most famous songs? Some of Bo Diddley's most famous songs include "Bo Diddley", "Who Do You Love?", "I'm a Man", and "Mona". He also had a significant influence on other artists and his music has been covered by many musicians. 4. How did Bo Diddley contribute to the development of rock and roll music? Bo Diddley's unique style of guitar playing, which involved using the tremolo effect and playing repetitive rhythms, had a major impact on the development of rock and roll music. He also incorporated elements of rhythm and blues, gospel, and African music into his songs, influencing other musicians and shaping the sound of rock and roll. 5. What is Bo Diddley's legacy? Bo Diddley's legacy is his significant contribution to the development of rock and roll music. He was inducted into the Rock and Roll Hall of Fame in 1987 and received numerous awards and accolades throughout his career. His music continues to be influential and his songs have been covered by artists from various genres.
correct_death_00084	FactBench	0	63	https://www.facingsouth.org/2008/06/bo-diddley-rip.html	en	Bo Diddley R.I.P.	https://www.facingsouth.org/themes/custom/facingsouth/favicon.ico	https://www.facingsouth.org/themes/custom/facingsouth/favicon.ico	[ "https://www.facingsouth.org/themes/custom/facingsouth/logo.svg?v=1", "https://www.facingsouth.org/sites/default/files/styles/wide/public/images/bodiddley.jpg?itok=M1fTfI06", "https://www.facingsouth.org/sites/default/files/styles/headshot/public/images/photo/sue_headshot_2022.jpg?h=7d1dec5b&itok=HCO_0IT6", "https://www.facingsouth.org/themes/custom/facingsouth/images/iss-logo.png" ]	[]	[]	[ "" ]	null	[]	null	The South has lost a cultural icon with rock star Bo Diddley's death today from heart failure at his home in Archer, Fla. He was 79.	en	/themes/custom/facingsouth/favicon.ico		https://www.facingsouth.org/2008/06/bo-diddley-rip.html	The South has lost a cultural icon with rock star Bo Diddley's death today from heart failure at his home in Archer, Fla. He was 79. Born Ellas Bates in McComb, Miss. in 1928, he later took the last name McDaniel for the relative who reared him. His family moved to Chicago when he was seven, and it was there that he became a musician -- first studying violin but later taking up guitar after seeing a performance by blues legend John Lee Hooker. He once told an interviewer that he was given the nickname "Bo Diddley" by other children in Chicago. The name is a play on "diddley bow," a simple stringed instrument that originated in Africa and was brought to America by slaves. He became famous for a distinctive strumming rhythm that became known as the "Bo Diddley beat" -- bomp ba-bomp bomp, bomp bomp. He was also known for his box-bodied guitar, reputedly developed after an unfortunate stage injury involving a more traditionally shaped electric guitar. Early on Diddley developed a reputation as a rebel. Appearing on The Ed Sullivan Show in 1955, he was asked to play Tennessee Ernie Ford's hit "Sixteen Tons" but instead played "Bo Diddley" -- and was consequently banned from the show. He also bucked tradition by including women in his band, among them Peggy "Lady Bo" Jones and Norma-Jean Wofford, better known as The Duchess. Like too many African-American artists of his generation, he got only a small portion of the money he made during his career, earning a flat fee for his recordings with no royalty payments. He also claims he was not compensated for many live performances. "I am owed," he once said. "A dude with a pencil is worse than a cat with a machine gun." Diddley earned numerous accolades, having been inducted into the Rock and Roll Hall of Fame, the Rockabilly Hall of Fame, the Grammy Hall of Fame, the Mississippi Musicians Hall of Fame, and the North Florida Music Association's Hall of Fame. He was also the recipient of a Grammy Lifetime Achievement Award, the BMI Icon Award, and the Pioneer in Entertainment Award from the National Association of Black Owned Broadcasters. In 2006, Diddley took part in a fundraising concert in the Florida Keys for the Mississippi town of Ocean Springs, which was devastated by Hurricane Katrina. "This is the United States of America," he said at the time. "We believe in helping one another." (Photo by Caroline Torterat from the Big Blues Festival in Remich, Luxembourg in June 2002 courtesy of Bo Diddley's Web site)
correct_death_00084	FactBench	3	36	https://kids.britannica.com/students/article/Bo-Diddley/606638	en	Bo Diddley	https://kids.britannica.…-07-14-17-A2.jpg	https://kids.britannica.…-07-14-17-A2.jpg	[ "https://www.facebook.com/tr?id=160638381132823&ev=PageView&noscript=1", "https://pubads.g.doubleclick.net/activity;dc_iu=/15510053/DFPAudiencePixel;ord=1;dc_seg=806891421", "https://kids.britannica.com/resources/img/BkidsLogoDesktop.png", "https://kids.britannica.com/resources/img/BkidsLogoTruncated.png", "https://cdn.britannica.com/89/102889-004-DA097733.jpg?w=300&h=300&q=85", "https://cdn.britannica.com/93/9893-004-F96049FF.jpg?w=300&h=300&q=85", "https://kids.britannica.com/resources/img/tour/icon-inspire.png", "https://kids.britannica.com/resources/img/tour/icon-inform.png", "https://kids.britannica.com/resources/img/tour/icon-educate.png", "https://kids.britannica.com/resources/img/tour/icon-subscribe-yellow.png" ]	[]	[]	[ "Bo Diddley", "encyclopedia", "encyclopaedia", "article" ]	null	[]	null	(1928–2008). The American singer, songwriter, and guitarist Bo Diddley was an influential performer during the early years of rock music. He created a…	en	/resources/icons/favicons/bkids/bkids-favicon-57c.png	Britannica Kids	https://kids.britannica.com/students/article/Bo-Diddley/606638	(1928–2008). The American singer, songwriter, and guitarist Bo Diddley was an influential performer during the early years of rock music. He created a beat—chink-a-chink-chink, ca-chink-chink—that became one of the most widely imitated rhythms in rock. This signature sound has been called the Bo Diddley beat. Diddley was born Ellas Bates on December 30, 1928, in McComb, Mississippi. He was raised mostly in Chicago, Illinois, by his adoptive family, from whom he took the surname McDaniel. He studied violin but switched to guitar after hearing the music of blues master John Lee Hooker. After playing for several years in Chicago, in 1955 he signed with Checker, a subsidiary of the legendary blues record label Chess. He recorded for Chess as Bo Diddley—a name most likely derived from the diddley bow, a one-stringed African guitar popular in the Mississippi Delta region. The sound that became known as the Bo Diddley beat was a variation of the hambone, a beat with African origins that had surfaced in some big-band rhythm-and-blues songs of the 1940s. Diddley made his version of this beat into an irresistible rock rhythm. Johnny Otis’s “Willie and the Hand Jive” (1958), the Strangeloves’ “I Want Candy” (1965), and the Rolling Stones’ version of Buddy Holly’s Diddley-influenced “Not Fade Away” (1964) are just a few of the many songs that borrowed the beat. For all his influence, however, Diddley hit the pop charts just five times and the Top 20 only once (even though his 1955 debut single, “Bo Diddley,” backed with “I’m a Man,” was number one on the rhythm-and-blues charts). The lyrics to Diddley’s songs were filled with African American street talk, bluesy imagery, and raunchy humor. He used tremolo, fuzz, and feedback effects to create a unique guitar sound. During his stage shows, he often dressed in a huge black Stetson hat and loud shirts, no doubt influencing the dress of the Rolling Stones and other British Invasion groups. The odd-shaped guitars that he played added to his arresting look. In the 1960s Diddley recorded everything from surf music to straight-ahead blues. His last big hit was the song “You Can’t Judge a Book by the Cover” (1962), although the British Invasion reinvigorated his music long enough for a minor 1967 hit, “Ooh Baby.” Diddley toured only sporadically after the 1970s, appeared in a few movies, and made occasional albums. He was inducted into the Rock and Roll Hall of Fame in 1987. Diddley died on June 2, 2008, in Archer, Florida.
correct_death_00084	FactBench	0	62	https://aaregistry.org/story/a-true-music-original-bo-diddley/	en	Bo Diddley, Blues Musician born	https://aaregistry.org/w…9/bo-diddley.jpg	https://aaregistry.org/w…9/bo-diddley.jpg	[ "https://aaregistry.org/wp-content/themes/aareg/images/logo.jpg", "https://aaregistry.org/wp-content/themes/aareg/images/logo.jpg", "https://aaregistry.org/wp-content/uploads/2009/09/bo-diddley-206x300.jpg", "https://aaregistry.org/wp-content/themes/aareg/images/storyDetail/poemsImage.png", "https://aaregistry.org/wp-content/themes/aareg/images/envelopeImage.png", "https://aaregistry.org/wp-content/themes/aareg/images/logoSmall.png" ]	[]	[]	[ "" ]	null	[]	2009-09-08T02:55:37+00:00	Bo Diddley, an African American blues musician, was born on this date in 1928. He was born Ellas Otha Bates McDaniel on a small farm near the town of McComb, MS, in rural Pike County, close to the Louisiana border. The only child of mother Ethel, at only 8 months of age, he went to live with his mother's cousin Gussie McDaniel, who raised him. The family moved to Chicago when young Ellas was 6 or 7 years old. It was in the Windy City that he got the name Bo Diddley from the kids at Willard Elementary School.	en	https://aaregistry.org/wp-content/themes/aareg/images/favicon.ico	African American Registry	https://aaregistry.org/story/a-true-music-original-bo-diddley/	Bo Diddley, a Black blues musician, was born on this date in 1928. He was born Ellas Otha Bates McDaniel on a small farm near the town of McComb, MS, in rural Pike County, close to the Louisiana border. The only child of Ethel, at only eight months of age, went to live with his mother's cousin Gussie McDaniel, who raised him. The family moved to Chicago when young Ellas was 6 or 7. In the Windy City, he got the name Bo Diddley from the kids at Willard Elementary School. As a child, he studied violin and taught himself how to play the guitar. As a young adult, he earned money performing odd jobs in construction and as a semi-pro boxer. He took up blues and R&B after hearing John Lee Hooker. In the early '50s, he began playing with his longtime partner, maraca player Jerome Green, to get what Diddley called “that freight train sound.” Billy Boy Arnold, the blues harmonica player and singer, was playing with Diddley when he got a deal with Chess (after being turned down by rival Chicago label Vee-Jay). His first single, Bo Diddley/I'm a Man 1955, was a double-sided hit. The A-side had futuristic waves of tremolo guitar, set to a timeless nursery rhyme; the B-side had a bump-and-grind, harmonica-driven shuffle based around an overwhelming blues riff. The result was a new kind of guitar-based rock & roll, saturated in the blues and R&B but loyal to neither. Diddley produced more influential music than all but a handful of the best early rockers. Diddley's spellbinding rhythmic attack and booming vocals stretched back to Africa for their roots and looked as far into the future as rap. His trademark otherworldly vibrating, fuzzy guitar style expanded the instrument's power and range. Diddley’s bounce epitomizes rock & roll at its most humorously outlandish and freewheeling. The Bo Diddley beat is one of rock & roll's bedrock rhythms, showing up in the work of Buddy Holly, the Rolling Stones, and even pop-garage knock-offs like the Strangeloves' 1965 hit "I Want Candy." Diddley was never a top seller like Chuck Berry, but he produced a catalog of classics that rivaled Berry's in quality. "You Don't Love Me," "Diddley Daddy," "Pretty Thing," "Diddy Wah Diddy," "Who Do You Love?," "Mona," "Road Runner," "You Can't Judge a Book by Its Cover." All are standards. Oddly enough, his only Top 20 pop hit was an atypical, absurd back-and-forth rap between him and Jerome Green, Say, Man, almost accidentally while fooling around in the studio. On stage, Diddley was great, using his trademark square guitars and distorted amplification to produce new sounds that preceded the innovations of guitarists like Jimi Hendrix. In Great Britain, he was revered as a giant on the order of Berry and Muddy Waters. The Rolling Stones, in particular, borrowed a lot from Diddley’s rhythms and attitude in their early days, although they only officially covered a couple of his tunes, "Mona" and "I'm Alright." Other British R&B groups like the Yardbirds, Animals, and Pretty Things also covered Diddley standards in their early days. Buddy Holly covered “Bo Diddley” and used a modified Bo Diddley beat on “Not Fade Away.” When the Stones gave the song the full-on Diddley treatment (complete with shaking maracas), the result was their first big British hit. He recorded less and less after 1963. His writing or recording material was never on par with his early classics. 1979, he toured with the Clash and had a cameo role in the film Trading Places." His other accomplishments include induction into the Rock and Roll Hall of Fame in 1987, a late-'80s tour with Ronnie Wood, and a 1989 television commercial for sports shoes with star athlete Bo Jackson. That same year, he got a star on the Hollywood Hall of Fame sidewalk. Diddley was a well-respected artist and played a concert for President John Kennedy and Jacquie Kennedy. He also played at President Bush's Inaugural Gala in Washington D.C. and performed at the Democratic National Convention for Bill Clinton. He received the Lifetime Achievement Award from the Rhythm and Blues Foundation at the Seventh Annual Pioneer Awards 1996. He released "Road Runner Live" in February 1999. Bo Diddley had a long career that spanned more than five decades. Even toward the end of his career, he performed concerts in places like Robinsonville, MS, and Tokyo, Japan. On May 17, 2007, Diddley was admitted to intensive care at Creighton University Medical Center in Omaha, NE, following a stroke during a concert at Council Bluffs, IA. Tests indicated that the stroke affected the left side of his brain, impairing his speech and speech recognition. A spokeswoman said that Diddley was in "guarded" condition. While recovering, he returned to his hometown to unveil a plaque on the National Blues Trail devoted to him. Bo Diddley died on June 2, 2008, of heart failure at his home in Archer, Florida.
correct_death_00084	FactBench	1	96	https://500songs.com/podcast/episode-30-bo-diddley-by-bo-diddley/	en	Episode 30: “Bo Diddley” by Bo Diddley	https://500songs.com/wp-…ley-300x300.jpeg	https://500songs.com/wp-…ley-300x300.jpeg	[ "https://500songs.com/wp-content/uploads/2021/04/cropped-cropped-Logo-1-1.png", "https://i0.wp.com/500songs.com/wp-content/uploads/2021/04/Logo.png?resize=150%2C150&ssl=1", "https://500songs.com/wp-content/plugins/seriously-simple-podcasting/assets/css/images/player/images/icon-loader.svg", "https://i0.wp.com/500songs.com/wp-content/uploads/2021/04/Diddley.jpeg?resize=300%2C300&ssl=1", "https://secure.gravatar.com/avatar/c73edd603b5cd764523e197e51969ba6?s=60&d=identicon&r=g", "https://secure.gravatar.com/avatar/5b65a16a15a4cbb3d9c8d67c9e07a133?s=60&d=identicon&r=g", "https://secure.gravatar.com/avatar/5ef07378a737487c51e8420fc2ee3cbe?s=60&d=identicon&r=g", "https://secure.gravatar.com/avatar/2521fdc02174427e92d692b4aab6cd4a?s=60&d=identicon&r=g", "https://secure.gravatar.com/avatar/ea298ceb2742035d266139164a713dc7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/aa98826d8af0b266bee708b318fee7a6?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/1664d2723b1a612ff4308c516a162af2?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/ea298ceb2742035d266139164a713dc7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/d6cf275a755ff0b4c90b74aa71b31249?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/1664d2723b1a612ff4308c516a162af2?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/f0d4a3978f19b910761a91254beba744?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/aad178a08d0957ce1bcb0a43b2c32798?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/fcad27c3eddb23e92191f0c644be411b?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/a588e3e4b243fb0a34af72a7400143f0?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/48cdd51ba19e3246107259a8503a6b81?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/c93ebbd0c5766e1317a507677807f3e6?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/8631c7517b1bc6c004c00173712a26b7?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/837f94483e49d891fcc06165daa898ac?s=48&d=identicon&r=g", "https://secure.gravatar.com/avatar/c93ebbd0c5766e1317a507677807f3e6?s=48&d=identicon&r=g" ]	[]	[]	[ "" ]	null	[ "Andrew Hickey" ]	2019-04-29T22:17:00+00:00	Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on "Bo Diddley" by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. Resources As always, I've created a…	en	https://i0.wp.com/500son…it=32%2C32&ssl=1	A History of Rock Music in 500 Songs	https://500songs.com/podcast/episode-30-bo-diddley-by-bo-diddley/	Welcome to episode thirty of A History of Rock Music in Five Hundred Songs. This is the last of our three-part look at Chess Records, and focuses on “Bo Diddley” by Bo Diddley. Click the full post to read liner notes, links to more information, and a transcript of the episode. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode.I accidentally used a later rerecording of “I Wish You Would” by Billy Boy Arnold on the playlist, but I use the correct version in the podcast itself. Sorry about that. As this is part three of the Chess Records trilogy, you might want to listen to part one, on the Moonglows, and part two, on Chuck Berry, if you haven’t already. Along with the resources mentioned in the previous two episodes, the resource I used most this time was Bo Diddley: Living Legend by George R. White, a strong biography told almost entirely in Diddley’s own words from interviews, and the only full-length book on Diddley. This compilation contains Diddley’s first six albums plus a bunch of non-album and live tracks, and has everything you’re likely to want by Diddley on it, for under ten pounds. If you want to hear more Muddy Waters after hearing his back-and-forth with Diddley, this double CD set is a perfect introduction to him. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Welcome to the final part of our trilogy about Chess Records. Last week, we looked at Chuck Berry. This week, we’re going to deal with someone who may even have been more important. One of the many injustices in copyright law — and something that we’ll have a lot of cause to mention during the course of this series — is that, for the entire time period covered by this podcast, it was impossible to copyright a groove or a rhythm, but you could copyright a melody line and lyric. And this has led to real inter-racial injustice. In general, black musical culture in the USA has emphasised different aspects of musical invention than white culture has. While white American musical culture — particularly rich white musical culture — has stressed inventive melodies and harmonic movement — think of, say, Burt Bacharach or George Gershwin — it has not historically stressed rhythmic invention. On the other hand, black musical culture has stressed that above everything else — you’ll notice that all the rhythmic innovations we’ve talked about in this series so far, like boogie woogie, and the backbeat, and the tresillo rhythm, all came from black musicians. That’s not, of course, to say that black musicians can’t be melodically inventive or white musicians rhythmically — I’m not here saying “black people have a great sense of rhythm” or any of that racist nonsense. I’m just talking about the way that different cultures have prioritised different things. But this means that when black musicians have produced innovative work, it’s not been possible for them to have any intellectual property ownership in the result. You can’t steal a melody by Bacharach, but anyone can play a song with a boogie beat, or a shuffle, or a tresillo… or with the Bo Diddley beat. [Very short excerpt: “Bo Diddley”, Bo Diddley] Elias McDaniel’s distinctive sound came about because he started performing so young that he couldn’t gain entrance to clubs, and so he and his band had to play on street corners. But you can’t cart a drum kit around and use it on the streets, so McDaniel and his band came up with various inventive ways to add percussion to the act. At first, they had someone who would come round with a big bag of sand and empty it onto the pavement. He’d then use a brush on the sand, and the noise of the brushing would provide percussion — at the end of the performance this man, whose name was Sam Daniel but was called Sandman by everyone, would sweep all the sand back up and put it back into his bag for the next show. Eventually, though, Sandman left, and McDaniel hit on the idea of using his girlfriend’s neighbour Jerome Green as part of the act. We heard Jerome last week, playing on “Maybellene”, but he’s someone who there is astonishingly little information about. He doesn’t even have a Wikipedia page, and you’ll find barely more than a few paragraphs about him online. No-one even knows when he was born or died – if he died, though he seems to have disappeared around 1972. And this is quite astonishing when you consider that Green played on all Bo Diddley’s classic records, and sang duet on a few of the most successful ones, and he played on many of Chuck Berry’s, and on various other records by Willie Dixon, Otis Spann, the Moonglows… yet when you Google him, the third hit that comes up is about Robson Green and Jerome Flynn, a nineties soft-pop duo who span out of a soap opera. At first, Jerome’s job was to pass the hat around and collect the money, but McDaniel decided to build Jerome a pair of maracas, and teach him how to play. And he learned to play very well indeed, adding a Latin sound to what had previously been just a blues band. Jerome’s maracas weren’t the only things that Elias McDaniel built, though. He had a knack for technology, though he was always rather modest about his own abilities. He built himself one of the very first tremelo systems for a guitar, making something out of old car bits and electronic junk that would break the electronic signal up. Before commercial tremelo systems existed, McDaniel was the only one who could make his guitar sound like that. The choppy guitar, with its signal breaking up deliberately, and the maracas being shook frantically, gave McDaniel’s music a rhythmic drive unlike anything else in rock and roll. McDaniel and his band eventually got their music heard by Leonard Chess at Chess Records. Chess was impressed by a song called “Uncle John”, which had lyrics that went “Uncle John’s got corn ain’t never been shucked/Uncle John’s got daughters ain’t never been… to school”; but he said the song needed less salacious lyrics, and he suggested retitling it “Bo Diddley”, which also became the stage name of the man who up until now had been called Elias McDaniel. The new lyrics were inspired by the black folk song “Hambone”, which a few years earlier had become a novelty hit: [Excerpt: “Hambone”, Red Saunders Orchestra with the Hambone Kids] Now, I have to be a bit careful here, because here I’m talking about something that’s from a different culture from my own, and my understanding of it is that of an outsider. To me, “Hambone” seems to be a unified thing that’s part song, part dance, part game. But my understanding may be very, very flawed, and I don’t want to pretend to knowledge I don’t have. But this is my best understanding of what “Hambone” is. “Hambone”, like many folk songs, is not in itself a single song, but a collection of different songs with similar elements. The name comes from a dance which, it is said, dates back to enslaved people attempting to entertain themselves. Slaves in most of the US were banned from using drums, because it was believed they might use them to send messages to each other, so when they wanted to dance and sing music, they would slap different parts of their own bodies to provide percussive accompaniment. Now, I tend to be a little dubious of narratives that claim that aspects of twentieth-century black culture date back to slavery or, as people often claim, to Africa. A lot of the time these turn out to be urban myths of the “ring a ring a roses is about the bubonic plague” kind. One of the real tragedies of slavery is that the African culture that the enslaved black people brought over to the US was largely lost in the ensuing centuries, and so there’s a very strong incentive to try to find things that could be a continuation of that. But that’s the story around “Hambone”, which is also known as the “Juba beat”. Another influence Diddley would always cite for the lyrical scansion is the song “Hey Baba Reba”, which he would usually misremember as having been by either Cab Calloway or Louis Jordan, but was actually by Lionel Hampton: [Excerpt: Lionel Hampton, “Hey Baba Reba”] But the important thing to note is that the rhythm of all these records is totally different from the rhythm of the song “Bo Diddley”. There’s a bit of misinformation that goes around in almost every article about Diddley, saying “the Bo Diddley beat is just the ‘Hambone’ beat”, and while Diddley would correct this in almost every interview he ever gave, the misinformation would persist — to the point that when I first heard “Hambone” I was shocked, because I’d assumed that there must at least have been some slight similarity. There’s no similarity at all. And that’s not the only song where I’ve seen claims that there’s a Bo Diddley beat where none exists. As a reminder, here’s the actual Bo Diddley rhythm: [Very short excerpt: Bo Diddley, “Bo Diddley”] Now the PhD thesis on the development of the backbeat which I talked about back in episode two claims that the beat appears on about thirteen records before Diddley’s, mostly by people we’ve discussed before, like Louis Jordan, Johnny Otis, Fats Domino, and Roy Brown. But here’s a couple of examples of the songs that thesis cites. Here’s “Mardi Gras in New Orleans” by Fats Domino: [Excerpt: “Mardi Gras in New Orleans, Fats Domino] And here’s “That’s Your Last Boogie”, by Joe Swift, produced by Johnny Otis: [Excerpt: Joe Swift, “That’s Your Last Boogie”] As you can hear, they both have something that’s sort of the Bo Diddley beat, but not really, among their other rhythms. It’s most notable at the very start of “That’s Your Last Boogie” [Intro: “That’s Your Last Boogie”] That’s what’s called a clave beat — it’s sort of like the tresillo, with an extra bom-bom on the end. Bom bom-bom, bom-bom. That’s not the Bo Diddley beat. The Bo Diddley beat actually varies subtly from bar to bar, but it’s generally a sort of chunk-a chunk-a-chunk a-chunk a-chunk ah. It certainly stresses the five beats of the clave, but it’s not them, and nor is it the “shave and a haircut, two bits” rhythm other people seem to claim for it. Most ridiculously, Wikipedia even claims that the Andrews Sisters’ version of Lord Invader’s great calypso song, “Rum and Coca Cola”, has the Bo Diddley beat: [Excerpt: “Rum and Coca Cola”, the Andrews Sisters] Both records have maracas, but that’s about it. Incidentally, that song was, in the Andrews Sisters version, credited to a white American thief rather than to the black Trinidadian men who wrote it. Sadly appropriate for a song about the exploitation of Trinidadians for “the Yankee dollar”. But none of these records have the Bo Diddley beat, despite what anyone might say. None of them even sound very much like Diddley’s beat at all. The origins of the Bo Diddley beat were, believe it or not, with Gene Autry. We’ve talked before about Autry, who was the biggest Western music star of the late thirties and early forties, and who inspired all sorts of people you wouldn’t expect, from Les Paul to Hank Ballard. But Diddley hit upon his rhythm when trying to play Autry’s “I’ve Got Spurs That Jingle Jangle Jingle”. [excerpt, Gene Autry, “I’ve Got Spurs that Jingle Jangle Jingle”] No, I don’t see the resemblance either. But this ties back into what we were talking about last week, with the influence of country musicians on the blues and R&B musicians at Chess. And if you become familiar with his later work, it becomes clear that Diddley truly loved the whole iconography of the Western, and country music. He did albums called “Have Guitar Will Travel” (named after the Western TV show “Have Gun Will Travel”) and “Bo Diddley is a Gunslinger”. Diddley’s work is rooted in black folklore — things like hambone, but also the figure of Stagger Lee and other characters like the Signifying Monkey — but it should be understood that black American folklore has always included the image of the black cowboy. The combination of these influences – the “Hambone” lyrical ideas, the cowboy rhythm, and the swaggering character Diddley created for himself – became this: [Excerpt: “Bo Diddley” by Bo Diddley] The B-side to the record, meanwhile, was maybe even more important. It’s also an early example of Diddley not just reusing his signature rhythm. The popular image of Diddley has him as a one-idea artist remaking the same song over and over again — and certainly he did often return to the Bo Diddley beat — but he was a far more interesting artist than that, and recorded in a far wider variety of styles than you might imagine. And in “I’m A Man” he took on another artist’s style, beating Muddy Waters at his own game. “I’m A Man” was a response to Waters’ earlier “Hoochie Coochie Man”: [Excerpt: “Hoochie Coochie Man”, Muddy Waters] “Hoochie Coochie Man” had been written for Muddy Waters by Willie Dixon and was, as far as I can tell, the first blues record ever to have that da-na-na na-na riff that later became the riff that for most people defines the blues. “Hoochie Coochie Man” had managed to sum up everything about Waters’ persona in a way that Waters himself had never managed with his own songs. It combined sexual braggadocio with hoodoo lore — the character Waters was singing in was possessed of supernatural powers, from the day he was born, and he used those powers to “make pretty women jump and shout”. He had a black cat bone, and a mojo, and a John the Conqueror root. It was a great riff, and a great persona, and a great record. But it was still a conventionally structured sixteen-bar blues, with the normal three chords that almost all blues records have. But Bo Diddley heard that and decided that was two chords too many. When you’ve got a great riff, you don’t need chord changes, not if you can just hammer on that riff. So he came up with a variant of Dixon’s song, and called it “I’m a Man”. In his version, there was only the one chord: [Excerpt: Bo Diddley, “I’m a Man”] Willie Dixon guested on bass for that song, as it wasn’t felt that Diddley’s own bass player was getting the feeling right. There were also some changes made to the song in the studio — as Diddley put it later: “They wanted me to spell ‘man’, but they weren’t explaining it right. They couldn’t get me to spell ‘man’. I didn’t understand what they were talking about!” But eventually he did sing that man is spelled m-a-n, and the song went on to be covered by pretty much every British band of the sixties, and become a blues standard. The most important cover version of it though was when Muddy Waters decided to make his own answer record to Diddley, in which he stated that he was a man, not a boy like Diddley. Diddley got a co-writing credit on this, though Willie Dixon, whose riff had been the basis of “I’m a Man”, didn’t. [Excerpt: Muddy Waters, “Mannish Boy”] And then there was Etta James’ answer record, “W.O.M.A.N.”, which once again has wild west references in it: [Excerpt: Etta James, “W.O.M.A.N.”] And that… “inspired” Jerry Leiber and Mike Stoller to write this for Peggy Lee: [Excerpt: Peggy Lee, “I’m A Woman”] Of course, none of those records, except Muddy Waters’, gave Bo Diddley a writing credit, just as Diddley didn’t credit Dixon for his riff. At the same session as the single was recorded, Diddley’s harmonica player, Billy Boy Arnold, recorded a single of his own, backed by Diddley and his band. “I’m Sweet on you Baby” wasn’t released at the time, but it’s a much more straightforward blues song, and more like Chess’ normal releases. Chess were interested in making more records with Arnold, but we’ll see that that didn’t turn out well: [Excerpt: Billy Boy Arnold, “I’m Sweet on you Baby”] Despite putting out a truly phenomenal single, Diddley hit upon a real problem with his career, and one that would be one of the reasons he was never as popular as contemporaries like Chuck Berry. The problem, at first, looked like anything but. He was booked on the Ed Sullivan Show to promote his first single. The Ed Sullivan Show was the biggest TV show of the fifties and sixties. A variety show presented by the eponymous Sullivan, who somehow even after twenty years of presenting never managed to look or sound remotely comfortable in front of a camera, it was the programme that boosted Elvis Presley from stardom to superstardom, and which turned the Beatles from a local phenomenon in the UK and Europe into the biggest act the world had ever seen. Getting on it was the biggest possible break Diddley could have got, and it should have made his career. Instead, it was a disaster, all because of a misunderstanding. At the time, the country song “Sixteen Tons” by Tennessee Ernie Ford was a big hit: [Excerpt: “Sixteen Tons”, Tennessee Ernie Ford] Diddley liked the song — enough that he would later record his own version of it: [Excerpt: Bo Diddley, “Sixteen Tons”] And so he was singing it to himself in his dressing room. One of the production staff happened to walk past and hear him, and asked if he could perform that song on the show. Diddley assumed he was being asked if he would do it as well as the song he was there to promote, and was flattered to be asked to do a second song. [Excerpt: Ed Sullivan introducing “Dr Jive”, with all the confusion about what words he’s using] When he got out on to the stage he saw the cue card saying “Bo Diddley Sixteen Tons”, assumed it meant the song “Bo Diddley” followed by the song “Sixteen Tons”, and so he launched into “Bo Diddley”. After all, why would he go on the show to promote someone else’s record? He was there to promote his own debut single. So of course he was going to play it. This was not what the production person had intended, and was not what Ed Sullivan wanted. Backstage, there was a confrontation that got so heated that Diddley had to be physically restrained from beating Sullivan with his guitar after Sullivan called Diddley a “black boy” (according to Diddley, “black” at that time and in that place, was a racial slur, though it’s the polite term to use today). Sullivan yelled and screamed at Diddley and told him he would be blacklisted from network TV, and would certainly never appear on Sullivan’s show again under any circumstances. After that first TV appearance, it would be seven years until Diddley’s second. And unlike all his contemporaries he didn’t even get to appear in films. Even Alan Freed, who greatly respected Diddley and booked him on his live shows, and who Diddley also respected, didn’t have him appear in any of the five rock and roll films he made. As far as I can tell, the two minutes he was on the Ed Sullivan show is the only record of Bo Diddley on film or video from 1955 through 1962. And this meant, as well, that Chess put all their promotional efforts behind Chuck Berry, who for all his faults was more welcome in the TV studios. If Diddley wanted success, he had to let his records and live performances do the work for him, because he wasn’t getting any help from the media. Luckily, his records were great. Not only was Diddley’s first hit one of the great two-sided singles of all time, but his next single was also impressive. The story of “Diddley Daddy” dates back to one of the white cover versions of “Bo Diddley”. Essex Records put out this cover version by Jean Dinning, produced by Dave Miller, who had earlier produced Bill Haley and the Comets’ first records: [Excerpt: Jean Dinning, “Bo Diddley”] And, as with Georgia Gibbs’ version of “Tweedle Dee”, the record label wanted to make the record sound as much like the original as possible, and so tried to get the original musicians to play on it, and made an agreement with Chess. They couldn’t get Bo Diddley himself, and without his tremelo guitar it sounded nothing like the original, but they did get Willie Dixon on bass, Diddley’s drummer Clifton James (who sadly isn’t the same Clifton James who played the bumbling sheriff in “Live and Let Die” and “Superman II”, though it would be great if he was), and Billy Boy Arnold on harmonica. But Billy Boy Arnold made the mistake of going to Chess and asking for the money he was owed for the session. Leonard Chess didn’t like when musicians wanted paying, and complained to Bo Diddley about Arnold. Diddley told Arnold that Chess wasn’t happy with him, and so Arnold decided to take a song he’d written, “Diddy Diddy Dum Dum”, to another label rather than give it to Chess. He changed the lyrics around a bit, and called it “I Wish You Would”: [Excerpt: Billy Boy Arnold, “I Wish You Would”] Arnold actually recorded that for Vee-Jay Records on the very day that Bo Diddley’s second single was due to be recorded, and the Diddley session was held up because nobody knew where Arnold was. They eventually found him and got him to Diddley’s session — where Diddley started playing “Diddy Diddy Dum Dum”. Leonard Chess suggested letting Arnold sing the song, but Arnold said “I can’t — I just recorded that for VeeJay”, and showed Chess the contract. Diddley and Harvey Fuqua, who was there to sing backing vocals with the rest of the Moonglows, quickly reworked the song. Arnold didn’t want to play harmonica on something so close to a record he’d just made, though he played on the B-side, and so Muddy Waters’ harmonica player Little Walter filled in instead. The new song, entitled “Diddley Daddy”, became another of Diddley’s signature songs: [Excerpt: Bo Diddley, “Diddley Daddy”] but the B-side, “She’s Fine, She’s Mine”, was the one that would truly become influential: [Excerpt: Bo Diddley, “She’s Fine, She’s Mine”] That song was later slightly reworked into this, by Willie Cobbs: [Excerpt: Willie Cobbs, “You Don’t Love Me”] That song was covered by pretty much every white guitar band of the late sixties — the Grateful Dead, Quicksilver Messenger Service, the Allman Brothers, Steve Stills and Al Kooper… the list goes on. But Cobbs’ song itself was also slightly reworked, by Dawn Penn, in 1967, and became a minor reggae classic. Twenty-seven years later, in 1994, Penn rerecorded her song, based on Cobbs’ song, based on Bo Diddley’s song, and it became a worldwide smash hit, with Diddley getting cowriting credit: [Excerpt: Dawn Penn, “You Don’t Love Me (No, No, No)”] And that has later been covered by Beyonce and Rhianna, and sampled by Ghostface Killah and Usher. And that’s how important Bo Diddley was at this point in time. The B-side to his less-good follow-up to his debut provided enough material for sixty years’ worth of hits in styles from R&B to jam band to reggae to hip-hop. And the song “Bo Diddley” itself, of course, would provide a rhythm for generations of musicians to take, everyone from Buddy Holly: [Excerpt: Buddy Holly, “Not Fade Away”] to George Michael: [Excerpt George Michael, “Faith”] to U2: [Excerpt: U2, “Desire”] Because that rhythm was so successful – even though most of the success went to white people who didn’t credit or pay Diddley – people tend to think of Diddley as a one-idea musician, which is far from the truth. Like many of his contemporaries he only had a short period where he was truly inventive — his last truly classic track was recorded in 1962. But that period was an astoundingly inventive one, and we’re going to be seeing him again during the course of this series. In his first four tracks, Diddley had managed to record three of the most influential tracks in rock history. But the next time we look at him, it will be with a song he wrote for other people — a song that would indirectly have massive effects on the whole of popular music.
correct_death_00084	FactBench	3	60	https://www.wikiwand.com/en/Bo_Diddley	en	Bo Diddley	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://wikiwandv2-19431.kxcdn.com/_next/image?url=https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bo_Diddley_%25281957_publicity_portrait%2529.jpg/640px-Bo_Diddley_%25281957_publicity_portrait%2529.jpg&w=640&q=50", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Bo_Diddley_%281957_publicity_portrait%29.jpg/220px-Bo_Diddley_%281957_publicity_portrait%29.jpg" ]	[]	[]	[ "" ]	null	[]	null	Ellas Otha Bates, known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly, Elvis Presley, the Beatles, the Rolling Stones, the Animals, George Thorogood, Syd Barrett, and the Clash.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Bo_Diddley	This article is about the singer. For other uses, see Bo Diddley (disambiguation). Ellas Otha Bates (December 30, 1928 – June 2, 2008), known professionally as Bo Diddley, was an American guitarist and singer who played a key role in the transition from the blues to rock and roll. He influenced many artists, including Buddy Holly,[3] Elvis Presley,[4] the Beatles, the Rolling Stones,[5] the Animals, George Thorogood, Syd Barrett,[6] and the Clash.[7] Quick Facts Background information, Birth name ... Close
correct_death_00084	FactBench	1	79	https://www.johnbridge.com/vbulletin/archive/index.php/t-63397.html	en	Dead Celebrities [Archive]			[]	[]	[]	[ "Dead Celebrities", "ceramic", "tile", "stone", "marble", "shower", "saltillo", "granite", "sealers", "advice", "grout", "thinset", "mortar", "Kerdi", "Ditra", "Nobleseal" ]	null	[]	null	[Archive] Dead Celebrities The Mud Box				null	View Full Version : Dead Celebrities vBulletin® v3.7.4, Copyright ©2000-2024, Jelsoft Enterprises Ltd.
correct_death_00084	FactBench	3	3	https://www.theguardian.com/world/2008/jun/02/usa.musicnews	en	Musician Bo Diddley dies aged 79	https://assets.guim.co.u…allback-logo.png	https://assets.guim.co.u…allback-logo.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=US+news%2CWorld+news%2CMusic%2CCulture%2CBlues" ]	[]	[]	[ "" ]	null	[ "Dan Glaister", "www.theguardian.com" ]	2008-06-02T00:00:00	<p>Bo Diddley, the rhythm and blues musician whose name became synonymous with a distinctive choppy rhythm that shaped rock and roll, died today</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/world/2008/jun/02/usa.musicnews	Bo Diddley, the rhythm and blues musician whose name became synonymous with a distinctive choppy rhythm that shaped rock and roll, died today. The 79-year-old singer and guitarist had suffered a heart attack in August, three months after having a stroke while on tour in Iowa. He died at home in Florida of heart failure. Wearing horn-rimmed glasses, a black Stetson and playing a homemade box-shaped guitar, Diddley cut a distinctive figure among the first generation of rock and rollers. But he never achieved the fame or fortune of contemporaries such as Chuck Berry and Little Richard. His first single, however, was arguably as influential as anything recorded by the pioneers of rock and roll. Hey, Bo Diddley, a tale of rural infidelity released in 1955, introduced the "shave and a haircut, two bits rhythm" that Diddley made his own, and which was subsequently absorbed by artists from Buddy Holly to David Bowie. The single's B-side, I'm A Man, introduced rock and roll to another element of the genre's DNA, humour. Its boastful lyrics – "All you pretty women/Stand in line/I can make love to you baby/In an hour's time" – were a parody of macho pride. Almost a decade later the song gave the British group the Yardbirds a US hit. Diddley, who was born Ellas Bates in 1928 in Mississippi, claimed that he never received due financial reward for his music. Like most musicians in the early 1950s, he was paid a flat fee for his groundbreaking recordings, and never received royalties. "I am owed. I've never got paid," he told an interviewer in the 1990s. "A dude with a pencil is worse than a cat with a machine gun." Possibly because of the lack of riches, or his humble roots and religious background, Diddley survived the ups and downs of an uneven career longer than most of his contemporaries. "When I first became famous, it really freaked me out," he once said. "I mean, it didn't seem real. I said, 'Wow, I got a hit record! Little ol' me!' I didn't know what to do with it, but then I turned around and faced it. I come from a very religious background, and I figured I was being given a chance and I wasn't about to let it slip by. Maybe that's why I'm still around and others aren't."
correct_death_00084	FactBench	3	76	https://www.pbs.org/newshour/show/rock-legend-bo-diddley-remembered	en	Rock Legend Bo Diddley Remembered	https://d3i6fh83elv35t.c…social-share.jpg	https://d3i6fh83elv35t.c…social-share.jpg	[ "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/static/assets/images/placeholder.jpg", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/cunard-icon.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/bnsf-railway.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/consumer-cellular.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/cpb-v2.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/raymond-james.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/fonh.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/cunard-icon.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/bnsf-railway.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/consumer-cellular.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/cpb-footer-trans.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/raymond-james.png", "https://d3i6fh83elv35t.cloudfront.net/newshour/app/themes/pbs-newshour/assets/img/sponsors/viewers-like-you.png" ]	[]	[]	[ "" ]	null	[]	2008-06-02T18:45:00-04:00	Hailed as an original founder of rock 'n' roll, Bo Diddley helped define the style that was to be the medium for many musicians to come. He died on Monday, age 79.	en	https://d3i6fh83elv35t.c…AppIcon57x57.png	PBS News	https://www.pbs.org/newshour/show/rock-legend-bo-diddley-remembered	GWEN IFILL: Musician Bo Diddley also died today. The guitarist's career spanned more than five decades. Early on, his music caught the ear of the Chess Brothers, who owned a Chicago-based recording label. Bo Diddley's story was told as part of a 1995 PBS series, "Rock & Roll." Here is an excerpt. BO DIDDLEY, Musician: I taught myself. I was just kind of a weird fellow with music. I wanted to do my thing; I didn't want to do something I heard somebody else do. I mainly played chords and stuff like that and rhythm. I'm a rhythm fanatic. I played the guitar as if I were playing drums. That's the thing that makes my music so different. I do licks on the guitar that the drummer would do. NARRATOR: Bo Diddley brought his percussive sound to an audience of millions in November 1955 on the country's top-rated variety program, "The Ed Sullivan Show," as primetime television was gradually beginning to acknowledge the growing popularity of black music. His rhythms would soon become rock-and-roll main stays, propelling hits by everybody from Buddy Holly and Johnny Otis in the late '50s, to punk and heavy metal bands of more recent decades.
correct_death_00084	FactBench	1	80	https://themississippilink.com/entertainment/mccomb-to-rename-pavilion-after-rocker-bo-diddley/	en	McComb to rename pavilion after rocker Bo Diddley – The Mississippi Link	https://themississippili…05/bodiddley.jpg		[ "https://themississippilink.com/wp-content/uploads/2020/07/cropped-TheMississippiLink-header-2.jpg", "https://themississippilink.com/wp-content/uploads/2016/05/bodiddley.jpg", "https://themississippilink.com/wp-content/uploads/2016/05/bodiddley-1024x576.jpg", "https://themississippilink.com/wp-content/uploads/2016/05/20434814-mmmain.jpg", "https://themississippilink.com/wp-content/uploads/2016/05/20446263-mmmain.jpg", "https://themississippilink.com/wp-content/uploads/2016/01/Handcuffs01_2003-06-02.jpg", "https://themississippilink.com/wp-content/uploads/2017/01/police-crime-scene-tape-1.jpg", "https://themississippilink.com/wp-content/uploads/2018/03/policetape.jpg", "https://themississippilink.com/wp-content/uploads/2020/01/e-Edition-button.png", "https://themississippilink.com/wp-content/uploads/2024/07/Jxn-Branch-FFB-2024-Flyer-3.jpg", "https://themississippilink.com/wp-content/uploads/2023/11/move.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			https://themississippilink.com/entertainment/mccomb-to-rename-pavilion-after-rocker-bo-diddley/	MCCOMB, Miss. (AP) – A popular venue for music concerts and other entertainment in downtown McComb is getting a new name. The Depot Pavilion will be rechristened “The Bo Diddley Pavilion” in honor of the late rock ‘n’ roll legend. The Enterprise-Journal reports (http://bit.ly/1sdFcHR ) the McComb Creative Economy Partnership, which produced the recent McComb Blues & Heritage Festival, has secured permission from the Diddley estate to use his name. Diddley, a McComb native, died in 2008.
correct_death_00084	FactBench	3	21	https://variety.com/2008/music/markets-festivals/rock-pioneer-bo-diddley-dies-1117986727/	en	Rock pioneer Bo Diddley dies	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Phil Gallo" ]	2008-06-02T18:13:09+00:00	Bo Diddley, the rock 'n' roll pioneer whose name is synonymous with a five-note beat and whose style influenced popular music for decades, died Monday of heart failure. He was 79.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2008/music/markets-festivals/rock-pioneer-bo-diddley-dies-1117986727/	Bo Diddley, the rock ‘n’ roll pioneer whose name is synonymous with a five-note beat and whose style influenced popular music for decades, died Monday of heart failure. He was 79. Diddley, born Otha Ellas Bates in McComb, Miss., had a heart attack in August, three months after suffering a stroke while touring in Iowa. He had been living at home in Archer, Fla., outside Gainesville, where he had been recovering. Diddley was one of the original voices of rock ‘n’ roll, and his music influenced multiple generations of rock acts — Elvis Presley, Buddy Holly, Jimi Hendrix, the Rolling Stones, John Lennon and Bruce Springsteen among them. He played a unique guitar with a rectangular body and was among the first musicians to incorporate distortion and reverb into his personal style. That aspect of the Diddley sound would influence hard rock in the 1970s; his use of a rhythmic pulse — created in a swell of guitar, drums and maracas — would also become a bedrock of funk. The “Bo Diddley” beat is a syncopated 5/4 pattern that parallels the hambone rhythm of West Africa. It has also been defined as a “shave and a haircut two-bits.” Diddley told various stories about the genesis of his use of the beat: He said it came from church music; from playing Gene Autry’s “Jingle Jangle”; and from his attempts to play the guitar like a drum. It has been used for decades, forming the core of Holly’s “Not Fade Away,” the Who’s “Magic Bus,” Strangelove’s “I Want Candy,” Springsteen’s “She’s the One” and George Michael’s “Faith.” George Thorogood has based the bulk of his oeuvre on the Diddley sound; the Pretty Things named themselves after one of his songs; and Quicksilver Messenger Service ostensibly created the trippy San Francisco sound by playing a lengthy medley of “Who Do You Love” and “Mona.” His first single, “Bo Diddley” and “I’m a Man,” has, over time, become a landmark in the rock revolution. Recorded with a blues band that included Otis Spann on piano, the A-side combined a nursery rhyme with tremolo guitar, while the flip side was blues at its core, but both managed to suggest the blues and R&B while pioneering a music form that was tethered to neither. They have become staples of the rock canon, along with his “Who Do You Love” and “Roadrunner.” In 1955’s “I’m a Man” and 1959’s “Say Man,” Diddley created a rhyming braggadocio that 20 years later would be employed in rap; in “Who Do You Love,” his line “just 22 and I don’t mind dying” brought an element of carefree danger and fearlessness that had never been heard in popular music. His music was raw and adult-oriented, unlike that of his labelmate Chuck Berry, who chronicled the concerns of teenagers. Berry’s commercial success overshadowed Diddley’s on the rock front, particularly in selling music to American whites. Diddley’s only top-40 pop hit was “Say Man,” although he had seven top-30 R&B singles between 1955 and 1959 and three more in the 1960s. Diddley’s importance to rock ‘n’ roll became apparent when the harder-edged bands in the British invasion — the Rolling Stones, Yardbirds, Animals and the Who — cited him as an influence. Lennon, upon the Beatles’ first visit to the States, said meeting Diddley was at the top of his wish list of activities. Over time, however, music historians came to see Diddley as the most overlooked of the early rockers — the result of the kind of exposure he received early on. Diddley biographer George R. White wrote that he “remained firmly rooted in the ghetto. Both his music and his image were too loud, too raunchy, too black ever to cross over.” Raised in Chicago by his mother’s cousin Gussie McDaniel from the age of 7, he took on the name Ellas McDaniel. He performed on Chi street corners with Roosevelt Jackson, Samuel Daniel and Jerome Green, whose bass and maracas playing would be an integral part of Diddley’s recordings. He took the name Bo Diddley, according to a few sources, as a teenager while he was training to be a boxer. Diddley recorded “Bo Diddley” and “I’m a Man” in 1954 at the Chess Records studio on Chicago’s Southside, and in 1955, both songs made it onto the R&B singles chart. America was exposed to Diddley when he performed his signature song right before Thanksgiving on “The Ed Sullivan Show.” Sullivan, however, felt that Diddley had violated his contract by not performing “16 Tons” and demanded that Diddley return the $750 performance fee he had received. The incident kept him off television for years. Diddley recorded extensively during the 1950s — always with Green — but his first pop hit came in 1957 with one of his compositions rather than a record: Mickey & Sylvia’s “Love Is Strange.” Chess Records, which signed Diddley to its subsidiary Checker, started releasing themed albums by Diddley in the late 1950s that started strong with “Bo Diddley Is a Gunslinger” and started to fizzle with 1963’s “Surfin’ With Bo Diddley.” In the U.K., however, his star was rising as he toured with the Rolling Stones in ’63, landed albums consistently in the top 20 and was regularly featured on television. Beginning in 1969, a year after he recorded “Super Blues Band” with Chicago legends Muddy Waters and Little Walter, he started appearing at rock ‘n’ roll revival shows and became an elder statesman of rock ‘n’ roll. In 1979, he opened shows for the Clash; he toured the world with Ron Wood in the ’80s. He was a member of the second class inducted into the Rock and Roll Hall of Fame, making it in 1987. In 1989, a series of Nike ads with athlete Bo Jackson introduced the phrase “You Don’t Know Bo” and revived Diddley’s career slightly. He received a Grammy lifetime achievement award in 1998. BMI presented him with the Icon award in 2002. He had continued performing well into 2007 but stopped when he suffered a stroke in May in Council Bluffs, Iowa. Diddley is survived by a brother; three daughters and a son; 15 grandchildren; 15 great-grandchildren; and three great-great-grandchildren. A public funeral service will be held Saturday at Showers of Blessing Harvest Center in Gainesville, and a nonreligious memorial will be held Monday evening at Gainesville’s Martin Luther King Jr. Multi-Purpose Center. A wake and burial are private.