V Renée @ NoFilmSchool.com

Even though there is clear evidence of the mass exodus from celluloid to digital, especially for indies, that doesn't mean that the use of film is dead. In fact, Kodak and the six major Hollywood studios are seeing to it that this doesn't happen.

Today, Kodak announced that they've made new agreements with Warner Brothers, Disney, Universal, Paramount, Fox, and Columbia to, in part, provide them with motion picture film stock.

Many Hollywood directors have lobbied and voiced their concerns about why we have to save film, including Martin Scorsese, Quentin Tarantino, and Christopher Nolan, and now the studios are jumping on board. This is certainly good news for Kodak, which has gone through some tumultuous times in the last several years -- reporting only one profitable year between 2004 and 2012, the year they finally had to file for bankruptcy. However, now that they have fought their way out of financial hardship, this agreement with the Big Six (are we calling them that now?) certainly seems to ensure that the future of not only the 127-year-old company is a promising one, but that of film stock as well.

Kodak's President of Entertainment & Commercial Films said in today's announcement:

With the support of the major studios, the creative community can continue to confidently choose film for their projects. We’ve been asking filmmakers, what makes a project ‘FilmWorthy.’ Their responses have varied from the need for its exceptional depth to its distinctive grain, but overwhelmingly, the answer is ‘the story.’ They need film to tell their stories the way they envision them, and hold a strong desire for it to remain a critical part of their visual language. Enabling artists to use film will help them to create the moments that make cinema history. The agreements announced today are a powerful testament to the power of film and the creative vision of the artists telling them.

Of course, telling your story on film stock is a very expensive decision -- one that no indie filmmaker takes lightly. That somehow natural, organic look of film grain and the richness of the color is still an aesthetic that digital chases like it's a purple dragon, but the cost of producing a film on celluloid poses financial and technological restrictions that many filmmakers are forced to (or would rather) avoid.

However, the value of the existence of celluloid can be measured just by seeing how much of our medium's history is exposed onto it. We make, see, and love films, not digitals. That doesn't mean that every single movie should be made on film -- again, it's often too costly for indies, but every filmmaker should have the chance to work with it at least once. 

Kodak's CEO Jeff Clarke also stated today:

Film has long been -- and will remain -- a vital part of our culture. With the support of the studios, we will continue to provide motion picture film, with its unparalleled richness and unique textures, to enable filmmakers to tell their stories and demonstrate their art.

Even if you don't have plans to shoot your next project, or any of them for that matter, on film, Kodak's agreement with the Big Six keeps that option secure for many years and many filmmakers to come. 

Check this out at NoFilmSchool.com

The New Voices of HUMANITAS Program awards four $25,000 grants to new or emerging writers. Each New Voices winner also writes an original pilot script under the supervision of a respected series showrunner.

Participating showrunners have included Humanitas Trustees Alan Ball, Jason Katims, Jay Kogen, Bill Lawrence, David Shore and David Zuckerman. 

The mission of the New Voices Program is to discover and help launch the careers of talented writers (represented or unrepresented).  Applicants can, but are not required to, have television experience to the level of Staff Writer. (Click here for more information)

If you are a new writer who possesses a fresh voice, a unique worldview and whose work reflects the mission of HUMANITAS, please apply.

Applying to the New Voices Program is a two-step process. Candidates must first be recommended by an agent, manager, network or studio executive, a showrunner, or a HUMANITAS Trustee or Board of Directors member.  (Click here for a recommendation form.)

It would be ideal to submit your Recommendation forms by February 15^th..  (Application deadline is March 1st)

We appreciate you taking the time to recommend a new writer for this career-launching opportunity.

More info, click HERE.

Producer & Director and NALIP member Alvaro Ron was be present at the 26th Producers Guild Awards on January 24th as one of the finalists of the Make Your Mark Competition organized by the PGA and sponsored by Cadillac to help emerging filmmakers launch their careers. 

The finalists are Michael Burke and Ian Wagner; Alvaro Ron; and Tim Wen and Chidi Onyejuruwa.

The 3 finalists created short films with mentors Bruce Cohen (“Silver Linings Playbook”), Gale Anne Hurd (“The Walking Dead”) and Peter Saraf (“Little Miss Sunshine”)

“We take pride in the Make Your Mark short film competition as a platform to celebrate the next generation and give them the opportunity to work closely with highly respected and talentedproducers within the industry,” said Vance Van Petten, PGA National Executive Director. “This competition is a special way for the PGA to support aspiring producers through the production of their short films and highlight their hard work with national recognition.”

The final round was judged by a panel that includes Kathy Bates, Danny DeVito, Michael Douglas, Hawk Koch (“Source Code”), Gary Lucchesi (“The Lincoln Lawyer”), Lori McCreary (“Invictus”), Chris Moore (“Good Will Hunting”), Craig Bierley, global advertising director at Cadillac, and Matthew Zelley, executive creative director at Lowe and Partners.

Mr. Ron´s new short film, “The Red Thunder”, is executive produced by Rosana Tomas (“Weeds”) and Greg Haggart (“Act of Valor”), Patrick Rousseau (“Suburgatory”) is the Cinematographer, Vicente Perez (“My Bakery in Brooklyn”) is the editor, Cesar Benito (“Ways to Live Forever”) is the composer, and Guillermo Marin (“Cantinflas”) is the Sound Mixer. The screenplay is penned by Rafael Alvarez (“The Wire”), Clara Viola and Alvaro Ron. The film stars Allie Grant (“Weeds”, “Suburgatory”), Miles Heizer (“Parenthood”), Karen Strassman (“Weeds”) and Doug Olear (“The Wire”).

Photofest

Lesley Goldberg @ THR

He's in talks with producers Sony Pictures Television and Televisa USA.

Sitcom king Norman Lear is looking to revive one of television's most groundbreaking comedies.

The legendary producer is in talks to revive 1970s comedy One Day at a Time with an all Latino cast,The Hollywood Reporter has confirmed.

As first reported by TV Insider, the potential series would be produced by Sony Pictures Television, whose T.A.T. Communications and Embassy Television produced the original.

The new comedy would be an English-language remake and a co-production of SPT and Televisa USA. No deals are currently in place and the project is in the early stage of discussion.

The original series ran for nine seasons on CBS from 1975-1984 and starred Bonnie Franklin as a divorced mother who moves with her two daughters (Mackenzie Phillips and Valerie Bertinelli) to an apartment building in Indianapolis where the family becomes friendly with the super, Schneider (Pat Harrington).

The series was hailed for its portrayal of a divorced woman and its ability to tackle serious issues, including feminism.

Lear produced the series, which was created by Whitney Blake and Allan Manings, a husband-and-wife duo who based the show on the former's life as a single mother raising her daughter — actress Meredith Baxter.

Sony previously attempted a Spanish-language take on One Day at a Time with Telemundo in the 1990s. Lear has also considered putting a new spin on All in the Family as well.

Plans for a Latino-focused One Day at a Time revival come as more and more broadcast networks are focused on creating diverse programming that better reflects society. ABC has found success with Latino family comedy Cristela as well as Black-ish, and its upcoming Asian-American half-hour Fresh Off the Boat is already generating positive reviews.

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Indiegogo and Vimeo are joining forces with the latter to serve as the preferred distribution platform for the film funding site. In addition, Vimeo has also committed to a film fund for select Indiegogo feature campaigns in exchange for exclusive distribution on Vimeo On Demand.

Additionally, there will be a dedicated Vimeo VOD storefront on Indiegogo’s site with titles funded by their crowdfunding campaigns available for purchase. Vimeo will also feature a dedicated Indiegogo VOD home on Vimeo featuring a rotating lineup of Indiegogo-funded films curated by Vimeo.  Film campaigners who opt to release their films on Vimeo On Demand will be able to access benefits not offered by other crowdfunding sites: free fulfillment on all digital download perks, a discounted Vimeo PRO account, and inclusion in a featured “Indiegogo Funded Films” collection on Vimeo, which reaches over 170 million global users a month.

“Indiegogo is leading the way for next generation filmmaking,” said Slava Rubin, CEO of Indiegogo in a statement. “Mirroring the diversity of our open platform, we are proud to support an incredibly robust community of filmmakers across multiple genres. With the addition of Vimeo as a distribution partner, it is now easier than ever for filmmakers using Indiegogo, to pursue their passions, receive funding, garner global exposure, and deliver their work directly to their fans.”

“Vimeo is all about giving power to the creators,” added Kerry Trainor, CEO, Vimeo. “This partnership highlights both Vimeo and Indiegogo’s continued support of independent filmmakers on a global level, and provides Indiegogo’s community of creators an opportunity to be exposed to an even wider audience via Vimeo’s transactional VOD platform.”

The first feature that’s part of the Indiegogo-Vimeo partnership is Malcom Carter’s documentary The Connected Universe on the interconnectivity of all things, featuring the work of theorist Nassim Haramein. The film is Indiegogo’s highest funded documentary in the company’s history. Past Indiegogo campaigns that have used Vimeo as their distribution method include Video Game High School Season Three, Angry Video Game Nerd: The Movie and Mad As Hell, which will be available next month on Vimeo.

Check this out at Deadline.com