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You are not the only one struggling. Everyone is. And we can do something about it. But first you’ve got to get mad.

Post a video or tweet saying, “I’m as mad as hell and I’m not going to take it any more.” Put @openindie and we’ll find it and make a mash up of screen grabs and video clips. Actually do it. It will feel good. You’ll feel better about what a panel of indie film experts at the Moma recently declared an indie film crisis.

Once you’ve gotten mad, donate to OpenIndie here

Then blog about it.

Here is the video that explains what OpenIndie is.

Below is the text from the end of the above video incase you want to quote it for a blog post, re-read or fact check (links included):

Ted Hope, producer of Thumbsucker & many other films donated $100 to help build OpenIndie.

3,666 feature films were submitted to Sundance last year and only 178 got in. Source.

Lance Weiler, founder of the Workbook Project, self distributed his two films,The Last Broadcast & Head Trauma & has donated $100
towards building OpenIndie.

Only 10 films found distribution at Sundance 2009. Article

Ondi Timoner, filmmaker of Digg & Join Us donated $100 to sign up her new film
We Live in Public on OpenIndie.

In 2008 Mark Gill declared the sky is falling on independent film. Article

Ira Deutchman manages a network of 65 digital theaters & donated $100 to help build OpenIndie.

The Independent Film Channel licensed Four Eyed Monsters but then failed to release it &
didn’t pay until the filmmakers settled out of court for a third of the original deal.

Arin Crumley, co-director of Four Eyed Monsters has now co-founded OpenIndie & will use it to distribute his upcoming feature film at the same time as it’s festival premiere.

Learn more at:
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Ira Deutchman kicks off Power to the Pixel with a talk about what is wrong with the theatrical distribution system. He then continues with some solutions for how theatrical can be fixed. He talks about the advantages of digital distribution and explains what emerging pictures is doing to help pioneer this new space.

One thing that could use more emphasis is how social software applications can be used to integrate audience demand with theater programming. Users of social networking services like are already using software to keep a list of movies they are interested in seeing. It’s not hard to imagine a scenario in which movie goers get notified when films they want to see in a theater are going to be playing near where they live. If theaters had access to information about the local demand for films, they could schedule their programming more intelligently. Online Social Networking technology is a medium through which theaters can inform people of when the movies they want to see in a theater are going to be playing. In addition, the notifications can be one click away from where the movie goer can buy a ticket. Movie goers could opt to join a public RSVP page where other potential attendees can see who’s planning on attending the show, adding a more social element to the event.

I think and are both good candidates for being the company that really starts to connect some of these dots, since both of them already do some of it. A back-end for theaters to use which provides them with information about demand, a way to notify the audience, and handles ticket sales could be added to either of these services. But thats at the moment. Really I hope in the long term that open source social networking, universal video publishing licenses and innovative digital distributors can all work together in three tiers to solve all of these problems.

Paula Le Dieu said at her power to the pixel presentation on October 26th 2007: “The very very best of film is frankly not anything unless someone sees it. So on of the biggest battles an independent filmmaker faces is obscurity. How on earth do we get more people to see the work that we make.” To see the entire power to the pixel conference go to: or

Formats available: Quicktime (.mov)