By lance weiler, October 5th, 2008

WHAT: A two day conference that brings together speakers from various industries for a discussion and debate around the future of cinema, games, and storytelling.

WHERE: Takes place 10.17 and 10.18 at the Pacific Film Archive Theater in Berkley.

For more info visit

From the site:

Our hunch is that we’re at an important moment in the history of technology and visual storytelling — a broad term that encompasses filmmaking, TV, online video, and narrative-driven games.

New software is making incredible things possible in visual effects and animation, and also democratizing those fields. Web sites offer to help finance film projects, or share ad revenue with video-makers. Marketing and release strategies are shifting by the minute. High-end high-def cameras are plummeting in price. The connection with the audience is changing. Established ways of doing things just don’t seem to be working anymore, while new opportunities are emerging.

Our goal is for The Conversation to delve into all those issues — and more, with your ideas, help, and participation. The Conversation will focus exclusively on the new business and creative opportunities that are arising in 2008.

We expect every participant to bring his or her concerns, questions, or examples of what they’ve been doing and how well it’s working, to share during the sessions or during the designated schmooze-time. (There will also be an opportunity to present during a Saturday workshop session.)

The overall goal is for The Conversation to be a real exchange of ideas — a gathering of people working on the edge and thinking about the future.

Interview with filmmaker and Conversation co-host Tiffany Shlain

Interview with Conversation founder Scott Kirsner

  • Share/Bookmark

Posted in event

lance weiler is the founder of the WorkBook Project and also a story architect of film, tv and games. He's written and directed two feature films THE LAST BROADCAST and HEAD TRAUMA. He's currently developing a number of transmedia projects


  • Ian

    Does anyone have a link to a recording of the full 2010 Filmmaker Summit? I listened that day live but want to share it with our team. Thanks!

  • I had a thought after listening to Tim Westergen talk about Pandora Radio and the Gnome project, and how that should be applied to films. Many filmmakers are frustrated with the rejections they get from film festivals. Arin Crumley and Susan Buice really shed a lot of light on this process with Four Eyed Monsters and the accompanying vlogs where they talk about the festival and marketing processes they went through. So add 2+2 and what you get is this: a gnome film festival.

    If you're not familiar with gnome, listen to Tim on the Workbook Project's This Conference is being Recorded archives. The Gnome project categories music, one track at a time into a multitude of categories with ratings in each one (as I understand it). As Tim says, this translates into a truly democratic form of music promotion based on these categories and based on comparing the music that a listener wants to hear with other music that has the same characteristics.

    So there would really be no direct all encompassing human judgment factor on rating an entire film. It's more on these individual traits. In film you could have categories like acting, actor, directing, director, photography, DP, genre, running time, locations, production company, on and on.

    This makes so much sense for film festivals where fairness really is an important issue and one that is now clearly forsaken over branding, theme, diversity and other marketing factors that really are what drive film festivals.

    Of course the gnoming [sic] of thousands of films submitted to festivals would be a monumental undertaking. So I think it would have to be something of a universal service for all festivals (like Withoutabox, which in fact already does this on a very small scale of non-merit factors), where you have a company categorize films and then you'd have festivals look at that database and select what they want. But again you could end up with festivals choosing films based more on marketing factors than quality or originality or other more merit type factors, and you'd also have to deal with devising a good objective way to rate acting, writing, directing and artist type performance.

    Perhaps there could be a new wave of festivals that would choose film solely on the merit and quality categories, or at least those could be the primary factors with marketing playing a secondary role.

    Another important point here is that filmmakers need and even crave objective feedback. This would give them that feedback and could even serve as a marketing information database for the entire industry. Filmmakers, studios, distributors and anyone involved with film production or distribution should be willing to pay at least something for such a service.

    I'm both a filmmaker and an experienced data-driven software project developer and I think his would be really not a big deal to make happen. But it would cost. It would take a lot of labor to categorize films, and ongoing labor to maintain it; plus coming up with categorization strategies would also be a major hurdle. But probably Tim and the Gnome Project could help out with some insight on that.

blog comments powered by Disqus
  • twitter
  • facebook
  • delicious
  • youtube
  • vimeo

Join the WorkBook Project mailing list - enter your email below...

DIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall PanelDIY Days Philly 2009: Town Hall Panel

There are no events to show at this time.

Podcast Archive