As a proud member since July 18, 2001, an indieLooper, and as one of the lucky people who somehow tricked you into allowing me to blog on this tremendous website, I wanted to extend a happy birthday and big thank you to indieWIRE for your consistently excellent work over this tumultuous decade for the independent film world.
If It’s Good Enough For Kiarostami, It’s Good Enough For Me!
My personal indieWIRE story (and we all have one) goes something like this; I was working at IFC when I first discovered the website (around 1997), and I read it pretty much every morning—while so many of the trades focus on Hollywood as the center of the film world, indieWIRE had a New York frame of reference which was much more engaging to me. The site also spoke volumes with its honest, no bullshit approach to the entire world of independent film. Before the development of online communities, I was pretty much just a reader (despite being tangentially involved in the first few IFC Rant magazines). I was never really compelled to join the site until July 18, 2001, which is when indieWIRE daily started showing up in my e-mail box.
I remember this time very well; I was interested in supporting Jeff Lipsky and Lot 47’s efforts to get L.I.E’s ridiculous NC-17 rating reversed (it still gets my blood boiling), Todd Solondz was ready to add a big red box to Storytelling (prompting the aforementioned Lipsky to write one of my favorite indieWIRE pieces ever…see the second item), and the day I joined, Shooting Gallery went belly-up, which was a sad day for me as I had always been a supporter of their films.
It has all happened so quickly, hasn’t it? Today, I count my fellow bloggers here as friends; those that I have met in person have been great people and those I haven’t, well, I read about your lives all the time. I was even lucky enough to do an interview with Arnaud Desplechin for indieWIRE which was a huge thrill for me. In my opinion, indieWIRE serves a very important purpose in the independent film world; it has created a sense of community among those of us who care about film, among those who work in film in one way or another, and is a place where our work, from festivals to filmmaking, distribution to producing to criticism, is celebrated.
That said, we all have so much to do. As I write, I read that Little Man, the Wayans Brothers’ latest assault on the national IQ, made over $21.7 million dollars this weekend which, in three days of mass distribution, is probably more than Techine’s Changing Times, Ozon’s A Time To Leave, Chereau’s Gabrielle, Cantet’s Heading South, Gordon’s Edmond, Kent’s The Oh In Ohio, and Turco’s Excellent Cadavers will earn combined. There is still a lot of work to be done, and I look upon indieWIRE and this community as the vanguard in working to change our culture and find an audience for these films. I can’t imagine anyone doing a better job. Here’s to many years of success and growth. Keep fighting the good fight!