Name: Cara Winter
Website: www.carawinternyc.com
Hometown: New York, NY
Artistic Disciplines: writing, acting
Fractured Atlas Member Since: February 2002
Fractured Atlas Services Used: Fiscal Sponsorship, Health Insurance, Liability Insurance

Cara, tell us about your work in a few sentences.

For about a decade, my focus was on performing, and I worked and toured all over the country.  But I’ve always written, on the side.  I am often inspired by the work I’m doing as an actress; for instance, I wrote two children’s plays while teaching acting to children, and wrote a play about an alcoholic while on tour with… well, you get the picture.  Last summer, my first play, “Social Work”, was picked up and produced by the Manhattan Repertory Theatre; and I have three more adult plays, all in-progress: “Poker Face”, “Seeds”, and “Alan Alda sat next to me on a park bench”.

Who/what are your biggest influences?

David Auburn, Aaron Sorkin, and Amy Sherman-Palladino are my major writing influences.

What has been your greatest success to date?

As a performer, it would have to be playing to a packed Fox Theatre in St. Louis.  Incredible.   As a writer, it was when “Social Work” was produced at the Manhattan Repertory Theatre.  The actors were amazing, the director and co-producer were incomparable.  Then the “aftermath” of the play’s success was SO cool:  several requests came in from development types to read the play (one at the Public, one at the Flea, as well as a film producer).  It was an incredible experience, and I learned so much.

How do you use your Fractured Atlas membership?

Fractured Atlas has helped me to obtain liability insurance (when I produced a short film), fund-raise and promote my production/s, and network with other artists.  For a while, though, the most important aspect of my association with Fractured Atlas was access to health care.  Last August we welcomed our first child into the world (a son, Avery), so having good health coverage was a priority.  My husband is also a freelancer, so he doesn’t have coverage through an employer.  Without FA, I’m not sure what we’d have done!  Glad I didn’t have to think about that.

Finish this sentence: A world without art is…

lonely.

How can we see/hear/read/experience/learn more about your work?

Whenever I’m in production with a piece, I usually send my blurb to Fractured Atlas’s community calendar.  I also have recent news on my own website: www.carawinternyc.com

Images:
Top: “Social Work” by Cara Winter at Manhattan Repertory Theatre;
Catherine Gowl as “Margaret” and Stas May as “Geoff”.  Photo by N. Warren Winter.

Bottom: Cara Winter as The Ghost of Christmas Past, with Cork Ramer as Scrooge; National Tour of “A Christmas Carol”.

“As a photographer, I am actually a small business owner as much as I am an artist.” – Anonymous Survey Respondent

In our quest to better understand the professional development needs of artists, we went beyond the survey/interviews and researched various external sources to find out what artists, arts managers, and industry experts were saying about career and business development in the “new economy.”

As we have all witnessed, the world has been “re-created” by the exponential growth of the web and technology. The Internet has fundamentally changed how we conduct business, socialize, and manage our lives. Rapid advancement and exponential increases in global communication have created an entirely new competitive environment for most industries. Older companies are restructuring to remain competitive and newer companies are emerging to meet the unprecedented demands of the “information age” customer. The cost of producing and distributing products and services has decreased so dramatically in some industries that traditional supply chains have shorten or rerouted through new intermediaries. Artists and arts organizations have not escaped these changes.

Traditionally, artists were tasked with developing their craft, then “auditioning” or “presenting” for an intermediary such as a film studio, theater company, record label or gallery. The intermediary would often invest in the continued development of the artist’s work, prepare it for the marketplace, expose it to an audience and sell it for a profit. The same model persists in the not-for-profit arts sector, except that raw talent is cultivated by organizations that received philanthropic funding or government support. Regardless of whether the middle man is for-profit or not-for-profit, they both operated a supply chain in which artists audition for their “big break.” 

However, the advent of new technology is creating a paradigm shift, a change in the power dynamic. ProTools, Garageband, Finalcut Pro, digital cameras, downloadable content, eCommerce, YouTube, MySpace, Napster, and other social networking sites have allowed artists to cheaply produce, market and distribute their work. They do not have to rely on the resources of the “middle man” to reach their audiences or realize financial returns. In fact, in some ways they are better position in the new economy then the big conglomerate or major institution, because they have little overhead. They don’t have to hit the mass market, they can make money marketing to small niche segments of the global village.  

Some examples of what D.I.Y artists are doing:

• Photographers are finding that the Internet and improved data management programs are making it easier to market directly to their customers, increasing opportunities for self-employment and decreasing reliance on stock photo agencies.
• Musicians are selling downloads over the internet, filming their own low budget videos for YouTube, offering free downloads to spur ticket sells for gigs, manufacturing their own merchandise and creating profit sharing programs so fans will solicit sales from friends.
• Actors are producing their own films/plays, using social networks to bring in audiences, and broadcasting work across the globe via the Internet.
• Writers are self-publishing and growing their fan base via blogging/interactive media.
• Visual Artists are selling their prints through e-gallery spaces and getting more active in mix media that can reach virtual audiences.
• Filmmakers are making a name for themselves via YouTube and creating work for premium content websites.

Another major reason why the traditional career model is changing is that traditional firms and organizations are experiencing budget crunches. Traditional firms have been losing money on the decline of legacy products (i.e. DVD’s and CDs) and the decline in philanthropic funding. This has forced them to be more selective about whom they “hire.” They no longer want raw talent they can mold; they want artists to “audition” with proven profitability. They want the artists to come to the “table” with an audience, as measured by MySpace hits,  downloads, user-generated website testimonials, positive reviews from citizen journalist, Google results, and viral-marketing based fame. 

Although there are still opportunities to succeed using the traditional career development model, artists are increasingly competing on the principals of entrepreneurship. For example, one of the artist consultants (and working artist) we interviewed told us the story of why she started consulting. Early in her career she was struggling to launch a painting career in Northern California by submitting her portfolio to galleries and curators. She was very frustrated with her career’s lack of progress when she read a newspaper article that changed her approach. The article told of a corporate woman who gave up her corporate career in pursuit of an artistic career. With the aid of a business consultant, she created a fully researched business plan that targeted the underserved market of northern Californian wineries.  Within a year she sold $100,000 worth of paintings.

This shift from dependant to independent artist, from employee to entrepreneur, has left a number of artists confused about how to approach their career development. The Internet continues to give rise to revenue streams that turn traditional business models upside down and provide numerous options for artists to market their work. However, they are finding an equal number of obstacles in differentiating their work from peers and attracting the attention of a critical mass of people. All these factors leave artists feeling overwhelmed by (and under trained for) the new DIY environment.

Fractured Atlas aims to use its core competence in technology and its ability to create strong networks to connect artists with experts, resources, services, and information that can help them navigate this new terrain.

I don’t have the stats to prove it, but I’d guess that a surprisingly high percentage (maybe even a majority) of the films produced in the US in a given year are independent documentaries.  Certainly that’s true of the 1100+ independent filmmakers in the Fractured Atlas membership, many of whom participate in our fiscal sponsorship program.

Of course, very few of these films ever get seen by more than a handful of people.  Movies are mass media in America, and if you’re not going to gross $50 million in your opening weekend, it’s tough to find a serious distributor.

Thankfully, the internet is systematically dismantling the very notion of mass media. Today, via Walter Mossberg, I learned about a new service called SnagFilms, which aims to faciliatate the viral distribution of independent documentary films.  As Mossberg puts it:

The service … allows anyone with a blog, a Web site, or even a page on a social-networking site, to open a virtual movie theater and show these documentaries, free.  The virtual theater is a small widget that contains the film, and that can be embedded easily and quickly in a wide variety of popular social-networking services and blog platforms.  No technical knowledge is needed.

SnagFilms already has an impressive roster of films to choose from, and a wide open content model promises an even greater bounty in the future.  Filmmakers can submit their work simply by emailing submissions@snagfilms.com.

So let’s try this out, shall we?  A quick perusal of the site turned up a few interesting-looking films.  (Disclaimer: I haven’t actually watched any of these, so view at your own risk.  They may be offensive or simply not very good.)

First up is Heavy Metal in Baghdad:

Next we have Freestyle, the Art of Rhyme:

And finally, Black, White, and Gray: a Portrait of Sam Wagstaff and Robert Mapplethorpe:

If you haven’t heard about this yet, I encourage you to check it out. In moby’s own words:

you can listen to the available music and download whatever you want to use in your film or video or short. the music is free as long as it’s being used in a non-commercial or non-profit film, video, or short.

Check out mobygratis to get the full details.

This post was brought to you by Amy Wrzesniewski, the coolest Board Chair that a nonprofit arts org. could ever wish for…

Name: Lauren Zito
Website: www.theweakness.net or www.youtube.com/toolgirl150
Hometown: Pittsburgh, PA
Artistic Discipline: Film/Video
Fractured Atlas Member Since: January 2007
Fractured Atlas Services Used: Film & Equipment Liability Insurance, Health Insurance

Today, we’re featuring Lauren Zito, a teacher, filmmaker, and actress residing in Pittsburgh. Currently, Zito is working on a long-term web serial video project titled “The Weakness.” The video is a “gender-bending dramatic film noir” piece that centers around a 400+ year old vampire who is in love with a clairvoyant, yet loony woman who holds the key to another vampire’s survival. Zito portrays all three major characters in the webisodes. As the filmmaker herself states, the piece is “your usual heartbreaking coming of age story… only with vampires.”

We asked Lauren a few questions about her work….

What/who are your biggest influences?
It’s obvious that Zito is influenced by and models herself after multi-faceted female artists who work across multiple artistic disciplines. She cites photographer/director Cindy Sherman, musician/performance artist Laurie Anderson, and actress/comedian Tracey Ullman as her greatest influences.

What have been your greatest successes to date?
As with her influences, who constantly manipulate and morph themselves and their artistry, Zito is following a similar path. As she states in answer to our question, “I am venturing into a new genre - so I’ll let you know!”

Finish this sentence: A world without art….
“…. could never really exist; art would exist one way or another.”

How can we see, experience, or learn more about your work?
If you’d like to view new and upcoming webisodes of “The Weakess,” simply visit www.theweakness.net. Or, to see all of Zito’s “crazy creations,” visit her YouTube page at www.youtube.com/toolgirl150.

And remember, if you have videos posted on YouTube, make sure you also post them to Fractured Atlas’ YouTube site (www.youtube.com/LiberateTheArtist)! Fractured Atlas members can post their videos using this simple online form.

Fractured Atlas member Rooftop Films announced today that they’re now accepting submissions for their 2008 summer festival.

The only thing cooler than enjoying some short flicks on a roof in Brooklyn on a summer night is enjoying your short flick on a roof in Brooklyn on a summer night! Aside from that, it’s a great opportunity to showcase your work for a friendly audience of your peers.

If you’re not in NYC you may not have heard about Rooftop Films, but they’re a great organization that produces an increasingly legendary summer festival and provides lots of support to independent filmmakers.

Here are the submission instructions.

Loyal readers know that I’ve been covering (and providing updates on) the New York City Mayor’s Office of Film, Theatre and Broadcasting’s proposed Permit Rules, which generated quite a hubbub here in NYC when they were first announced.

Here’s the latest:

TOWN HALL MEETING ON NYC PHOTOGRAPHY PERMIT RULES

Join a Town Hall Meeting with the Mayor’s Office of Film, Theatre and Broadcasting (MOFTB) to discuss the new draft of their proposed Permit Rules. All are welcome.

The Meeting will be held December 3rd, 6pm - 7pm in the Museum of the International Center of Photography: 1133 Avenue of the Americas (at 43rd Street), New York, NY 10036

Please go to MOFTB’s website - www.nyc.gov/film - to review the new proposed film rules in advance. Questions or comments? Please email the the Mayor’s Office at message@film.nyc.gov so they can come prepared.

RSVP:
Seating is limited. Please RSVP in advance if you would like to attend the Town Hall Meeting: http://www.icp.org/events/forum

For more information, please contact ICP at (212) 857-0001.

Those loyal readers out there might remember my post from July when I talked about the outcry over the new film permitting rules proposed by the NYC Mayor’s Office of Film Television and Broadcasting.

Well, I’m happy to report that they’ve just released a revised set of rules that appear a whole lot saner and more reasonable than the first set. The full announcement is below, where you’ll see that Fractured Atlas is mentioned as one of the groups they “collaborated with during the redrafting process”.

In all honesty, I think the initial controversy caught them completely off guard. The folks at MOFTB strike me as very reasonable people who are genuinely interested in making it as easy as possible to make films in New York. So when the story caught on in the media, and especially when it got distorted wildly by some irresponsible parties (such as the people suggesting that the required liability insurance would cost $1 million rather than provide $1 million in coverage, the latter of which can be had for a few hundred bucks) I think it just spiraled out of control.

Here’s the text of the announcement:

October 29, 2007 -

The Mayor’s Office of Film, Theatre and Broadcasting (MOFTB)
Commissioner Katherine Oliver today announced the release of a newly drafted permit rule proposal, which will be available online today and published in the City Record tomorrow. Under the proposed rules, which are designed to codify procedures that have existed in practice since the office was established in 1966, a permit would be required for a shoot if production equipment or vehicles create an obstruction, but not for productions that only use hand-held cameras or tripods that don’t cause an obstruction. The publication of the new rules, which are subject to public comment, follows the MOFTB’s decision to redraft rules following an initial publication and comment period that was extended to August 3, 2007. A copy of the proposed rule and an accompanying executive summary and “Q&A” document explaining it are available on the MOFTB website at www.nyc.gov/film.

“During the rule drafting process, our intention has always been to balance the needs of filmmakers working in New York City with concerns about congestion in public places, traffic flow and public safety,” said Commissioner Oliver. “We have taken into consideration the issues that were raised by numerous groups and individuals during the comment period and have addressed those points in this new draft. We strive to make New York City a hassle-free environment for productions and to ease public inconvenience as much as possible. We hope that these new rules will be met with the understanding that as a government agency we are required to enact regulations, and we are simply formalizing the ways in which the agency has always operated.”

The New Film Rule Proposal

Under the new draft of the proposed rule, a permit would be required if equipment or vehicles are being used by the production or if the filming activity creates an obstruction. “Equipment” is defined as film cameras, videocameras, lights, sets, and other production related materials, but does not include hand-held devices or tripods.

“Obstruction” is defined in the proposed rule as the assertion of exclusive control over a public space resulting in the obstruction of one or more lanes of a street or walkway, or when production activity results in either less than eight feet or one-half the width of the sidewalk or passageway (whichever is greater) being available for unobstructed sidewalk use by pedestrians.

A permit would not be required if the production uses hand-held devices or tripods, its activity does not present an obstruction, and it is not using equipment or vehicles. An optional permit would be available in these instances, and would not require liability insurance.

The rules would also not impact press photographers, who are routinely credentialed by the NYPD, or student filmmakers, who meet their insurance obligations by coverage through their school’s insurance program.

As a general matter, City agencies’ procedures for the issuance of permits must be contained in formally adopted rules. The City Charter’s rulemaking process requires that City agencies publish proposed rules for public comment. Public comment is now open for this current draft of the rule, with a hearing scheduled for December 13, 2007.

History

Since its inception, MOFTB has always offered free permits requiring only liability insurance under certain circumstances. In addition, if warranted by the activity, MOFTB also offers free police assistance to streamline filming in New York City. The permit has served as the filmer’s authorization to interact with, and stage production activity, on City property.

The decision to codify procedures came as part of a settlement of a recent lawsuit brought by an individual represented by the New York Civil Liberties Union (NYCLU). By codifying existing procedures as a rule, MOFTB has endeavored to meet the challenge of identifying a threshold level of activity which necessitates a film permit, while at the same time substantially mirroring its current practices.

The rules were originally published on May 25, 2007, in the City Record and a hearing on the proposed rules was held on June 28, 2007. After significant public comment on the rules, MOFTB extended the comment period through August 3, 2007, and announced it would redraft the proposed rules.. Since that time, MOFTB has reviewed the comments and has met with various individuals and organizations to further the public discussion.

The previous version of the rules included provisions that were based on the number of people present during a production, the duration of filming, and the use of a tripod to determine whether a permit was required. Those provisions have been removed from this draft.

“My staff and I would like to thank the many organizations that have shared feedback and collaborated with the agency during the redrafting process, including Independent Feature Project (IFP), Fractured Atlas, Creative Capital, The Moving Pictures Collective of NYC, and the International Center of Photography (ICP),” said Commissioner Oliver.

The MOFTB was the first film commission established in any locality in the United States, and is the one-stop shop for all production needs in New York City, including free permits, free public locations and free police assistance. The agency markets New York City as a prime location, provides premier customer service to production companies and facilitates production throughout the City’s five boroughs.

The City of New York Mayor’s Office of Film Theatre & Broadcasting
1697 Broadway Suite 602, New York, New York 10019.

As you may have heard, the NYC Mayor’s Office of Film, Theatre, and Broadcasting is proposing some strict new rules (actually, they claim they’re codifying existing rules) on permit requirements for very small film shoots. The proposed rules require permits for shoots with a handheld camera that last more than 30 minutes or those with a tripod that last more than 10 minutes. They also require that anyone obtaining a permit obtain a minimum of $1 million in film liability insurance.

Lots of folks are up in arms about this (and with good reason), from the New York Civil Liberties Union to the National Coalition Against Censorship to smallish arts groups like EYEBEAM.

Since Fractured Atlas is by far the leading provider of low-cost liability insurance for film shoots, we’d stand to benefit enormously from this rule passing. Nonetheless, in good conscience we’ve got to oppose it.

There’s no question the city needs rules and guidelines on permits and that you want people who bring heavy duty film equipment into public places to have insurance, but the proposed thresholds are crazy. They’d impact lots and lots of people who should be outside the scope of a rule like this, including tourists, independent photographers, and amateur or student filmmakers.

A few groups have set up mechanisms for protesting the proposed rules, in which I encourage you to participate:

• Picture New York (rally, petition)
• National Coalition Against Censorship (letter)

I’ll add more as I learn of them.

“I see technology as a tool that can be integrated seamlessly with the human mind,” says Fractured Atlas member Treva Wurmfeld, a filmmaker, sculptor, and performance artist who was featured at the 2006 benefit. Her work explores the relationship between biology and technology and how human beings are adapting to a world in the midst of rapid change.

“As humans become more dependent on computers, it is important to explore the possibilities of the brain unmediated by technology,” says Treva of her work. “I spend a lot of time on sail boats where people are turning to electronic equipment for navigation, rather than using the natural elements.”

“Like being on a boat at sea, however, technology tends to isolate humans,” she continues. “It would seem as we grow more dependent on technological devices that mimic our own functions we grow lazier and less in touch with our own bio-feedback.”

Treva’s most recent project is the documentary Destination Therapy, in which she follows Dr. Howard “Bud” Frazier of the Texas Heart Institute as he designs and implements the next generation of Total Artificial Hearts. “It will completely replace the human heart and take over the functions of both ventricles,” she explains. “Patients on this device would not have a pulse. Rather, they would have blood flowing continuously through their circulatory system.”

The subject of the film mirrors the themes found in Treva’s other work. “The artificial heart is the scientific pursuit of mimicking anatomical function. It represents the anthropomorphizing of technology and how it integrates into natural systems.”

Treva is influenced by other artists who explore this issue. “I draw a lot of inspiration from Mary Shelley,” she says. “Shelley supposedly wrote Frankenstein in a waking dream state between consciousness and unconsciousness. The oscillation between reality and fantasy – a blurry space between night and day – is what truly inspires me as both an author and spectator.”

For more information on Destination Therapy visit www.destinationtherapy.org.