FourEyedMonsters Tagged Articles at Cinematical

"These two are f**king brilliant, and we here at Cinematical wish them all the luck in the world moving forward." Erik Davis, our editor in chief, wrote those words last year in reference to Arin Crumley and Susan Buice, the two creative, enterprising filmmakers behind Four Eyed Monsters; he also detailed what they'd done to connect their wild, resolutely original flick with audiences in the most unexpected places. Now Arin Crumley has indeed moved forward, and he's ready to tell the world about it.

He's especially interested in reaching filmmakers who've completed their latest masterpiece but don't know how to reach their intended audience. Crumley has joined with Kieran Masterton to develop a new web resource called OpenIndie. As explained in detail by Eric Kohn at indieWIRE, Crumley and Masterton are hoping to raise $10,000 from filmmakers by October 29 to fund the project. The idea is to build awareness for a movie through social networking. That's already happening via Facebook, Twitter, MySpace, and YouTube, but Crumley has grander plans. "OpenIndie.com is the only site we are aware of that lets users keep a list of the films they want to see and regularly add new films to that list," he told indieWIRE. It "displays the demand for that film to any other member of the site, who can then organize a screening should they see fit."

That's the model used to build interest in Four Eyed Monsters, and it proved very successful. So if you've killed yourself to make your own movie and you know it's the best it could possibly be, why not check out OpenIndie to learn more? How else will the world ever know about your intense dysfunctional family drama / hilarious anti-romantic comedy / soul-searching zombie epic?

It's been a wild run for the duo (Arin Crumley and Susan Buice) behind Four Eyed Monsters. They first premiered their little gem of an indie back at Slamdance in 2005, and since then the flick has just taken on a life of its own. Arin and Susan have been everywhere with it -- multiple film festivals, premiering it on YouTube, in Second Life, self-distributing it to theaters around the country, answering questions in this forum, in that forum -- and in the process they've created 13 brilliant video podcasts (or diaries), which not only document their experience as filmmakers, but also as lovers.

I can't even begin to explain how much they've accomplished in the three years since finishing the film (feel free to visit their website, their YouTube page and check out this two-part interview with Arin on Cinematical), but I'm proud to call them friends and I'm happy IFC decided to put out their DVD (which apparently comes with all 13 video podcasts and a compilation CD). That said, Spout is hosting a final Q&A with Arin and Susan now that their DVD is out and in Borders stores -- and in typical Crumley/Buice fashion, the two artists are providing answers via video.

So in honor of this final Q&A, we present to you Episode 1 of their 13-episode video podcast/diary. Seriously folks, if you've never watched them and have no idea what I'm talking about, head on over to IFC and check out the episodes in order. Or, better yet, buy the DVD and make a weekend out of it. These two are f**king brilliant, and we here at Cinematical wish them all the luck in the world moving forward.

I was having an interesting heated argument friendly little discussion over IM yesterday afternoon with one of my Cinematical colleagues about what exactly designates a film as an "indie" film. Does it have more to do with the money spent on making it, or the artistic style of the film? Is a film an indie film if it's financed by an indie arm of a studio, like Juno? Or does it have to be financed by filmmakers on their credit cards, ala Four Eyed Monsters? What if it gets financed independently by a rich guy, like Little Miss Sunshine, and then bought by a studio for $10 million? And if an indie film gets bought by a studio and goes on to get Oscar nods, has it "sold out" like an indie band hitting the Top 40?

As you might expect, it was Juno that started this whole discussion. To me, Juno is clearly an indie film: it was financed not by Fox, but by Fox Searchlight, which is a studio arm set up specifically to buy and create indie films. Artistically, it certainly feels "indie" to me, although crossover hits like 40 Year Old Virgin, Knocked Up, and Little Miss Sunshine have helped to blur the line between indie comedy and mainstream. If Jason Reitman had gotten independent financing for it instead of getting it done through Searchlight, I don't think anyone would question its indie status. I understand, though why some folks feel a film like Juno, which had the benefit of backing by a studio to get it made, and a tremendous, well-executed marketing push, is straddling the indie line.

Personally, I see Juno as nothing but great news for other indie films, and I think Fox was smart to recognize both the power and passion of indie filmmakers, and that they don't know how to make indie films themselves. Partnering with filmmakers like Jason Reitman, who have both a solid background and a good eye for what works, especially with indie comedy, allows Fox Searchlight to target the indie market with films that are likely to also appeal to a broader audience. They've found a niche that works, they're both making and acquiring good films, and if all that expands the audience for indie films in general, opens up the popcorn crowd to checking out more indie fare, and ultimately paves the way for more indie films to be funded that's a good thing.

What makes a film an indie flim? Let us know what you think in the poll, and make your arguments in the comments.

What's it really like to self-distribute your film? If Arin Crumley and Susan Buice were coming out with a new film tomorrow, how would they go about sharing it with the world? Who are the major players helping young filmmakers today? Does technology get in the way of inspiration? What's it like to be in a failing romantic relationship and a failing business relationship at the same time? And is our future really only one click away? These are some of the topics Arin and I discuss in part two of our interview, which you can watch in full above (from Arin's point of view). If you haven't done so already, I urge you to also watch Arin and Susan's film, Four Eyed Monsters, over on YouTube (where it's playing for free through August 15). Additionally, you can help the filmmakers out by joining Spout.com (which also happens to be a really cool website), and Spout will then give Arin and Susan one dollar for everyone that creates an account; money that will go towards helping them climb out of the $100,000 debt they've accumulated over the past three and a half years. Feel free to check out part one of our interview here, and enjoy.

Cinematical: If and when you make another film, will you go about the process differently now that you've learned so much since first debuting Four Eyed Monsters at Slamdance in 2005?

Arin Crumley: Well it's kind of irrelevant until we have another film completed. But to completely speculate, I really can't say. I can say what I would do today if I had another film. So completely hypothetically, if I had a film right now I would try and submit it to Sundance. Sundance and Toronto and Cannes are still a good platform for the industry to become aware of a film. Now chances are that it won't get accepted, so the very next thing I would do would be to release it. Now this would have to be a final complete thing -- and this was hard with Four Eyed Monsters; we actually changed our edit all the way up till we posted it at YouTube. So we're crazy, and I don't know if I'll be that way the next time. I'll probably be a little more confident in the footage, and I probably won't need to make so many tweaks ... I hope. But provided the thing is actually done and complete -- I wouldn't show it at festivals unless it was done and complete. So if it didn't get in and I have this item sitting there, I would then release it on DVD and download; probably with B-Side because we've been working with them and they have a solid platform for selling your stuff easily -- you can get it up and running quickly.

I first met Arin Crumley and Susan Buice back when their film Four Eyed Monsters premiered at the Gen Art Film Festival in 2005. At the time they were just two run-of-the-mill indie filmmakers who were trying to work the festival circuit and land distribution for their film. Little did anyone know at the time, but these two amazing artists would help pave the way for a generation looking to change the ways in which we watch, promote and distribute films. Since 2005, Arin and Susan have been working full-time to not only spread word about their little film (which never found distribution, but still managed to score two Independent Spirit Award nominations this past year), but also open up new avenues for folks to experience film.

Last month, Four Eyed Monsters became the first film to be shown (for free) on YouTube in its entirety. And, as part of a promotion with Spout.com, anyone who signs up for a free Spout account will have one dollar donated (out of Spout's wallet, not yours) in their name to Arin and Susan. Their hope is to eventually raise $100,000 -- the total amount of debt they've accumulated over the past three and half years. As of now, they've managed to get roughly 36,000 people to sign up -- but they're looking for more. The promotion runs through August 15th, so head on over to Spout to help pitch in. After the jump, you'll find the first part of my two-part interview with Arin. Additionally, for the first time in Cinematical history, you can watch video of our entire 40-minute phone interview (from Arin's point of view) above. In part one Arin and I discuss the Spout promotion, how they managed to accumulate $100,000 worth of debt on such a low budget film, whether the two filmmakers would ever be interested in writing a book about their experiences, the disadvantages of extreme self-promotion, their ultra-popular video podcasts and the pressures that come along with building a massive fanbase. Check back Friday for part two, and enjoy.

You sure have to hand it to Susan Buice and Arin Crumley. The indie film directors, who helmed a little film called Four Eyed Monsters, about a couple who communicate primarily through hand-written notes rather than talking, have practically come to define the concept of indie filmmaking and distribution.

Erik Davis has been championing this little film -- which premiered at Slamdance in 2005 then went on to play a ton of fests, even getting nominated for a couple of Independent Spirit Awards -- since last December, when he wrote about how Buice and Crumley were documenting their journey -- complete with conflicts and drama -- through a series of video podcasts. They also promoted the film by showing it on virtual-reality site Second Life. Erik caught up with Buice and Crumley at the Gen Art Film Festival as well, check out his brief video interview with them there, if you missed it the first time around.

Now the pair have upped the ante even more, by uploading their entire film -- all 70 or so minutes of it -- onto YouTube for your viewing pleasure. If you like what you see, you can download a higher-res version or order the DVD off the film's website. Buice and Crumley say in the film's intro that Spout.com (where former Cinematical EIC Karina Longworth hangs her hat these days) has even given the filmmakers a deal: for every person who joins the Spout.com community through a special lnk associated with the film, Spout.com will donate $1 to the cause of helping Buice and Crumley pay off their massive debts from funding the film, up to $100,000 (it's telling, too, that Buice notes that $100,000 would just put a "dent" in their debt; that's a heck of a lot of personal debt to take on for the sake of your art). Just a note -- in order to get to the Four Eyed Monsters sign-up page on Spout.com you have to be a new member (or if you're already a member and want to just see the page, sign out first and then it will let you get there.

Anyhow, the film itself is quite good, so if you've not had a chance to catch it at a fest, go check it out and give some gutsy indie filmmakers a little love, eh? It's playing on YouTube through August 15. It'll be interesting to see if YouTube ends up becoming a major distrib channel for indie filmmakers who can't get distrib through the usual methods.

Remember when I said I was swearing off Main Street? That vow has been broken already. Saturday night, I headed down to the Delta/WireImage Lounge (no, I wasn't making that up in yesterday's post -- it actually exists) for FILMMAKER Magazine's 15th Anniversary bash. 15 minutes after the party's official start time, the slow-moving line to get in was already trailing some ways down the block. Inside, revellers (including various members of the Four Eyed Monsters camp, filmmaker Caveh Zahedi, and SXSW Film's Matt Dentler and Jarod Neece) enjoyed free Absolut and Stella Artois (served up by bartenders dressed as porntastic stewardesses), as they attempted to chat over the blare of Coldplay and The Shins. Here are some of the hot topics of conversation:

A.J. Schnack, director of They Might Be Giants doc Gigantic and About a Son, the forthcoming doc about Kurt Cobain, discussed the difference between opening a film at Toronto (as About a Son did), and opening at Sundance. "At Toronto," Shnack says, "It's like everyone is there to find out, 'Are these Oscar buzz films good enough?' I mean, we got enough press, but Toronto is a festival where it's still possible to play under the radar. Unlike Sundance, where everyone's like, 'What's the great discovery? Where's the new talent?'"

I'm sure you're probably already aware of that online virtual world called Second Life, and how the Sundance Channel has created a little island within Second Life in an attempt to bring indie fanatics from around the world together in one spot for screenings, interviews, parties and extra special exclusives. Recently, the Sundance Island officially opened up shop with a free screening of the buzzed-about flick Four Eyed Monsters, with directors Arin Crumley and Susan Buice on hand to answer questions afterwards.

Since things worked so well, Crumley and Buice have been asked to travel to Sundance to shoot daily videos which will be broadcast through YouTube as part of a collaboration (their first) with the Sundance Channel. Like Cinematical (which should be your first source for all things Sundance), the two filmmakers will skip around town interviewing filmmakers, attending panels, parties and (I imagine) having a blast, all the while providing us with the kind of uninhibited creativity they're known for.

And, for a sneak peak at what they have in store for us, Cinematical exclusively brings you their first official Sundance video -- essentially, an introduction to what lies ahead. Enjoy! (Oh, and if you're heading to Sundance and run into Crumley and Buice along the way, be sure to tell them Cinematical says hi.)

(Thanks to Jeff and Aaron for the tip)

The extremely popular online virtual reality world of Second Life is getting a new real-world addition: the Sundance Film Festival. If you haven't ventured online in Second Life yet, the best way I can describe it to you is to imagine The Sims times about one million. It's an extremely detailed virtual world that allows users to customize every possible aspect of their appearance, and even develop professions, as well as own real estate and build whatever you want on them. Second Life has many real-world counterparts that exist virtually, like Dell and Toyota, and now Sundance will be joining them.

The first time I ventured into Second Life was a couple of years ago, and after an extremely disorienting first 30 minutes or so, I began to get the hang of things. It's a bit like Tron meets Virtuosity meets What Dreams May Come. Once you create your avatar, the virtual representation of yourself in the game which can be male or female, and look like you or not, then you are released head-first into the sprawling vastness of the Second Life universe. Your character can literally fly, like Superman, to any location in the game, and interact with the environment and other denizens of the virtual. You can do things like find a job, go sightseeing, and even purchase genitalia for your avatar. Yes, it's that detailed.

Sundance is going to be trying to duplicate the festival experience online, by way of the Sundance Channel. Vincent Tibbett, one of the Sundance avatars for Second Life told Netscape's Karina Longworth, "Imagine hanging out with people from your local art house theater. That's the environment we plan to replicate in SL." Having spent two trial weeks inside this world, and also being a veteran of the Sundance experience, I'm not sure how well it will translate, virtually speaking. Still, if it serves as another outlet to introduce films to the world, real or not, I'm all for it. Sundance is a great film festival, but it is often limited by the fact that you have to journey to Park City, UT in order to see many of the films, especially in the different Shorts and Animation categories, that you might never see anywhere else. If Second Life can give users a chance to experience Sundance films from the comfort of their own home, then how can it not be a step in the right direction?

The film launching the Sundance Second Life experience is Four Eyed Monsters, which was written and directed by two people popular in the vlogging world, Arin Crumley and Susan Buice, which should help it make an easy transition to the digital world. We'll be tracking more with the Second Life Sundance presence as it develops. In the meantime, be sure to visit our sister site dedicated to all things Second Life.

Face it, the majority of films that screen at even the most popular film festivals never find distribution. That's just a fact. Usually, there's a window for a film that debuts at, say, Slamdance or SXSW ... and let's say that window is one year. If the film cannot find distribution within one year of its first screening at a major festival then chances are it's not going to happen. The filmmaker(s) who promoted their project at the festival, online and through various other sources will most likely use their festival film as a calling card to land other gigs -- or, they'll just simply make another film, use their prior festival buzz to get into future festivals and keep working their way up into the spotlight.

Of course, there are always exceptions. Four Eyed Monsters first premiered at Slamdance back in 2005, then went on to screen in over 20 festivals. However, before heading to Slamdance, directors Arin Crumley and Susan Buice decided to promote their film (which is about a couple who attempt to carry on a relationship through non-verbal communication) by documenting their journey -- not through words on a screen -- but through a number of video blogs (or podcasts). They called them 'episodes' and each one felt like its own mini-film, complete with conflict, adventure and fantastic music. Needless to say, the film (and the podcasts) quickly found an audience ... who told their friends, who told their friends and so on ...