If there was any reverence for cinema, people are now pissing that away. I call the pissers "miscreants of cinema." If you've seen a movie at a multiplex sometime in the past 15 years, you know what I'm talking about. The war to get teens and grown folk who act like teens to not have full-blown conversations, to not talk on their phones, to not text on their phones, while watching a movie in a theater...that war has been raging for years now. And it is uncertain which side is winning. What's troubling is that some of this disrespect for cinema has been coming to indie screenings and festivals. I'll come back to that in a bit.

I must say that in my theater travails lately I've noticed less of this behavior. It's probably been over a year since I've had to tell a group of teens to keep it down when they decided to break into full-blown convo mode during a movie. Speculating, there are two things going on here for the decrease in the trend.

First, location and price. I live in NoHo and most frequently see films at the Burbank 16 or, less frequently, at AMC Universal. This part of town is filled with people that make movies, aspire to make movies for a living, know people that work in the field, or are movie nerds. Inherently there is a little bit more respect for cinema here than in the average town.

I also tend to go to the pricier screening options these days when I see a film: IMAX, or Dolby, or the upscale option each theater chain has available. The miscreants typically (though not exclusively) tend to not want to pay extra to not watch a movie. Luckily, chains offer subscriptions like AMC Stubs so I can actually afford to go to these pricier screening options which would otherwise cost $20 to $26 a pop.

Second, I think the miscreants just aren't going to movies as often. For better or worse (worse for the industry), people are attending theaters less frequently. This decline stems partly from high ticket prices and partly from shorter attention spans conditioned by TikTok and Instagram's dopamine-heavy content. Movie studios share some blame for this trend by producing less compelling content. As a result, going to a theater to watch a movie has become less of a cultural norm than it was in previous decades. Predictably, miscreants only participate in activities that their social groups value.

I've spent a lot of time here droning on about the multiplex, but that really was just to set a point of reference for miscreant behavior. What I'm seeing and hearing about is a lesser offensive, but still disappointing behavior from filmgoers in independent film spaces—spaces like local indie screening events and film festivals.

I had a recent convo with a festival director friend and we got onto the topic of theater-goer behavior. He started describing something troubling that he noticed at the recent edition of his festival. During a screening block of short films, a huge group of attendees decided to get up and leave in the middle of the program. Why? Because the short they came to see just finished up and they didn't care to stay to see the rest of the shorts in the block or participate in the Q&A at the end of the block.

This behavior exemplifies what I call "miscreant" conduct. It disrupts the viewing experience for audience members trying to watch subsequent films and fundamentally undermines the purpose of film festivals. Festival programmers carefully curate short film blocks, thoughtfully arranging them by tone, quality, and genre to create a cohesive viewing experience. For short filmmakers especially, the value comes from diverse audiences—people who didn't specifically come to see their work—experiencing their films. When viewers only stay for films they already know about or made by people they know, filmmakers lose the benefit of genuine, unbiased reactions. This cross-pollination of audiences and films is precisely what makes festivals valuable and distinct from streaming services.

This wasn't an isolated incident. According to my friend, box office staff regularly fielded requests from patrons wanting discounted tickets to see just one short film within a program block. Such requests fundamentally misunderstand the festival format—it's comparable to asking for a discount because you only want to watch one scene from a feature film.

This attitude is particularly disheartening in festival contexts, where the entire point is discovery and exploration. Festivals exist to introduce audiences to unexpected gems, to inspire through unfamiliar work, and to foster connections between diverse film communities. Sadly, it appears that even independent festivals—traditionally havens for cinematic appreciation—cannot escape the broader erosion of our collective cultural attention.

I believe this behavior directly results from our culture's shift toward on-demand, buffet-style media consumption. Streaming platforms like Netflix have conditioned audiences to expect complete control over their viewing experience—watch what you want, skip what you don't, all on your own schedule and terms. This mentality has apparently followed people out of their living rooms and into traditional cinema spaces, where viewers now expect the same customized experience despite the fundamentally different context.

This trend damages media literacy too, as my festival director friend pointed out. When viewers exclusively consume content they're already familiar with, they fail to develop the ability to recognize and appreciate techniques and elements from diverse genres. Consequently, filmmakers must include more explanatory material to help audiences understand complex narratives and story structures. I expect this problem will intensify as younger generations, raised in algorithmic content bubbles, reach adulthood. The unwillingness to sit through even a few different short films at a festival signals a troubling narrowing of cultural perspective.

Disturbingly, I've observed this same disrespectful behavior among filmmakers themselves. At a recent local screening event in Los Angeles—essentially a mini film festival featuring multiple films across two blocks—I witnessed something particularly disappointing. A group of filmmakers whose work screened early in the first block immediately left the venue after their film ended. Their only return? At the very end, just in time to see if they'd won any awards.

This unwillingness to watch their peers' work reveals much about their character as artists. Their disinterest in learning from fellow filmmakers or supporting the community demonstrates precisely the kind of self-serving, hyper-individualistic mindset threatening independent cinema's future. This cultural shift toward selfishness must be reversed if independent film is to survive and thrive.

My hope is that at least for the independent film scene we can have a respectful culture. Respecting the artists, respecting the hard work. And respecting the promise of what cinema can do for the world.

Share Cinevite by Cinestruct

Catch up with Kale as he discusses filmmaking and industry news with filmmaker, Alex Bergman. Alex brings his no-holds-barred perspective as he rips into Warner Brothers' recent partnership with CJ Entertainment to remake Korean classics, while offering fresh insights on the future of independent production. Beyond the passionate takedown of Hollywood's remake culture, Kale and Alex discuss the strategic value of fan films as a career launcher and how AI might unexpectedly democratize high-end production value for independent creators.

Some time ago, a few friends and I had the pleasure of getting a personal tour of Walt Disney Animation Studios in Burbank. It was my first time there and it was incredible peering into the past to see the behind-the-scenes of some of the most important animated films in history - films like Dumbo, Cinderella, Sleeping Beauty, and more. However, the focus of this tour wasn’t those classic animated films or the office of the infamous Walt Disney who produced them. The person giving the tour worked in the localization department on the studio lot. In many ways, what she explained about the work her team did was as interesting as learning how those old animated films got made.

The Global Reach of Hollywood

We don’t often consider how people outside our borders consume the media that is created here in the states. But Hollywood is an international industry with incredible cultural reach.  The first thing we think of when considering international distribution is subtitling. But at the studio level that is no more than the base necessity. Content changes are sometimes needed to align with regional requirements - we see this with some of the big blockbuster movies that are distributed to countries like China. Timing of release is also very important.

How the films are marketed internationally are as important as those considerations. This part was the focus of our tour and it was eye opening. At the studio level, when a film is distributed to other regions, how the film is messaged has to be specifically tailored to those target media markets. This means, in some cases, rebuilding marketing collateral for a film from the ground up several times over - from trailers, to posters, to ads, and more! This is a massive effort, and for me it brought clarity to why studio films can end up costing far more in marketing costs than production costs. It’s this kind of investment that turns actors and actresses into stars and makes Hollywood the capital of commercial filmmaking.

A Blind Spot for U.S. Independent Filmmakers

In the United States, a lot of independent and up-and-coming filmmakers tend to have a very America centric view of filmmaking and film distribution. I can attest to this myself. When I completed my last and previous short films, submitting to international film festivals was an afterthought. Yes, I have submitted my films to the Cannes Film Festival with fingers crossed, as almost every independent filmmaker does. Beyond that, I didn’t give international festivals serious consideration. The cost of travel to foreign festivals is prohibitively high, especially after wrapping production. We would be stuck in production longer with additional requirements and costs for localizing the films. We have limited knowledge of the international independent scene so it’s hard to know which festivals are most appropriate to submit to.

While I haven’t submitted my past films to many international film festivals, in my experience attending festivals here in the states, I’ve found the reverse to be true of international filmmakers. They are very willing to submit their films to U.S.-based film festivals. And they are often in attendance at these festivals. I saw this earlier this year when we partnered with Short. Sweet. Film Fest. to have Cinevite Pledge at the festival. A significant amount of films were from international filmmakers.

The Benefits of Going Global

The approach these international filmmakers take is one that I believe U.S.-based independent filmmakers should consider adopting. The benefits of thinking globally about the film festival circuit are numerous and potentially game-changing for emerging artists. The U.S. market, while substantial, is just a fraction of the global audience for cinema. By targeting international festivals, filmmakers can exponentially increase the number of people who see their work. Moreover, the sheer number of international film festivals provides more opportunities for acceptance and screenings. Each festival acceptance means more eyes on a film and more chances to build a reputation in the industry.

Different countries and regions have their own unique cinematic traditions, preferences, and audience expectations. A film that might struggle to find its audience in the U.S. could resonate deeply with viewers in Europe, Asia, or South America. The story, style, or themes that seem commonplace in one market might be refreshingly novel in another. This cultural exchange goes both ways – American indie films often have a certain cachet overseas, viewed as windows into American life and culture that can be intriguing to international audiences.

Adapting the Hollywood Playbook

Taking a queue from what Disney does to localize their films internationally, the best way for indie filmmakers to be similarly effective is to adopt the approach of tailoring marketing and messaging to specific media markets. In practice, this might mean creating different materials for different regions and emphasizing aspects of the film that are likely to resonate with local audiences. While this level of customization might seem daunting, independent filmmakers today have powerful tools at their disposal that weren't available to previous generations. The internet and digital platforms like Cinevite will allow for targeted, cost-effective marketing campaigns that can reach niche audiences around the globe.

At Cinestruct, we recognize the immense potential for independent filmmakers to make a global impact with their work. This is why we're developing the Impact Toolkit for filmmakers on the Cinevite platform. We believe that with the right tools and support, independent artists can transcend geographical boundaries and connect with audiences worldwide.

As independent creators, particularly filmmakers, we often find ourselves so engrossed in our craft that we overlook a crucial aspect of our success: promotion. While it's tempting to dismiss political campaigns as irrelevant to our work, they offer valuable lessons in raising awareness and inspiring action – skills vital to any filmmaker's career.

The Parallels Between Political Campaigns and Film Promotion

At their core, both political campaigns and film promotion share a common goal: to raise awareness and inspire people to take action. In politics, it's about presenting a candidate's vision and motivating people to vote. In filmmaking, it's about introducing your project's premise and enticing audiences to experience your story.

This concept of raising awareness is fundamental to a successful creative career, yet it's often neglected. We pour our hearts and souls into making our films and collaborating with cast and crew, but sometimes we forget that our responsibility extends beyond creation. We owe it to our work and our team to ensure our films reach the widest possible audience.

Learning from Political Conventions

The Democratic National Convention is in session this week and it is undeniably attention grabbing. While political conventions may seem like spectacles of propaganda, they're masterclasses in awareness-raising strategies. Here's what filmmakers can learn:

1. Creating Enthusiasm Explosions: These conventions act as catalysts, generating waves of enthusiasm that reach millions. Filmmakers can create similar events around their projects, building excitement and anticipation.

2. Defining Key Messaging: Political campaigns excel at crafting messages that resonate with their audience. Filmmakers should identify the core themes and unique selling points of their films and communicate them consistently.

3. The Power of Repetition: Campaigns hammer their messages home through repetition. While we don't want to be overbearing, consistent messaging about your film across various platforms can significantly increase recall and interest.

4. Taking the Campaign on the Road: Politicians understand the importance of reaching people directly. Similarly, filmmakers can benefit from film festival circuits, Q&A sessions, and local screenings to create personal connections with potential audiences.

By adopting these strategies, filmmakers can Make an Impact and significantly increase their projects' visibility and potential for success. Moreover, effective promotion doesn't just benefit a single project. It builds a filmmaker's brand, creating a snowball effect that can lead to more opportunities and a sustainable career in the industry.

Become a Promoter and Advocate for your Work

As creatives, our primary focus will always be on crafting compelling stories and bringing them to life on screen. However, by learning from the world of political campaigns, we can ensure that our hard work doesn't go unnoticed. By mastering the art of raising awareness, we not only honor the collaborative effort that goes into making a film but also maximize its potential impact on audiences.

So, the next time you find yourself dismissing a rally or political ad, take a moment to look beyond the rhetoric. There's a wealth of promotional wisdom waiting to be applied to your next creative endeavor. In independent filmmaking, being a great storyteller is just the beginning – becoming a great promoter is the key to turning your passion into a thriving career.

So, TUBI is suddenly a big deal in streaming. Who saw that coming? John Koblin of the New York Times just dropped an article about TUBI's unexpected climb to the top, and it's got us thinking about what this could mean for indie filmmakers.

TUBI's Unlikely Success

TUBI's formula is simple: free content, sprinkled with ads. It's basically the streaming version of channel surfing, complete with random fast food commercials popping up mid-show. And people are eating it up. Koblin reports that TUBI's now giving heavy hitters like Disney+ a run for their money in viewing time.

Here's where things get interesting. TUBI is now helmed by Anjali Sud, the former CEO of Vimeo. Remember Vimeo? Once upon a time, it was the cooler, artier cousin of YouTube where “real” filmmakers showcased their work.

But Sud got spooked by YouTube's dominance. Instead of doubling down on Vimeo's strengths and figuring out how to monetize all that creative content, she pivoted. Vimeo became a video management tool for businesses. Good for the bottom line, maybe, but it left independent filmmakers out in the cold.

A Second Chance at TUBITV

Now Sud's got the reins at TUBI, and she's finally in a position to compete with YouTube, at least in the streaming space. But here's the million-dollar question: Will she use this opportunity to make things right with the independent film community she left behind at Vimeo?

TUBI's already dipping its toes into original content. Koblin mentions they're not afraid of low-budget, off-the-wall stuff like "Slay," a movie about drag queens fighting vampires in a biker bar. That's exactly the kind of creative freedom indie filmmakers crave.

Plus, TUBI's got a diverse audience that's hungry for fresh content. This could be the perfect platform for underrepresented voices in film to reach a wider audience.

The Ball's in Sud's Court

So, Anjali Sud, what's it gonna be? You've got a chance to rewrite your legacy here. TUBI could become the new home for indie filmmakers, the place where creativity thrives without the pressure of massive budgets or star power.

Will you embrace the indie film community this time around? Or will TUBI just become another corporate streaming giant, leaving indie creators in the dust... again?

The indie film world is watching, Anjali. Don't let them down twice!