by John Yost.
To me, microfilmmaking is not an end that anyone in his or her right mind should be pursuing. Of course, as people interested in filmmaking, we are not necessarily right in the mind. There are those — many of whom read or write for this column — who live and die by a microfilmmaking manifesto.
They hope that somehow, through their work, audiences will “see the light” and figure out that all is lost in Hollywood and at festivals, and that we must return to our roots by watching a shaky film about a character wrapped up in an über-personal struggle.
And, once audiences come around, a viable market will develop for that work. Even if that happens, the sheer volume of microfilms in existence ensures the fact that any revenue will be spread thin and you’ll still struggle to get seen.
Don’t get me wrong, people have had continued success as microfilmmakers, and I applaud their efforts and success. However, what you will find is that these people, conscious or not, were attached to some genre or movement which served as an automatic marketing device.
Like it or not, effective marketing — ie. Hype — is the only means by which they may eventually make a living doing what they love. In any industry, marketing also plays a role in the degree of revenue earned, but in film, it is the only means by which revenue is earned.
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