Over on Hope for Film, Ted Hope posted a great piece by producer Karin Chien titled “.What American Indies Can Learn from Their Chinese Counterparts” And while there are a lot of interesting thoughts in that piece on how Chinese independent filmmakers fly under the radar, for me the most interesting aspect of Chien’s piece asks:
Here’s a thought: if there was absolutely no chance your film would receive commercial distribution in the US, would you still make your film? What would it look like, and would you cast/write/shoot/edit differently? And if that freed you to take creative risks, would that be irresponsible filmmaking or would it be truly free filmmaking?
That’s a hell of a good question, and one that independent filmmakers — or those who aspire to be such — really ought to ponder. Now, I would argue that there are indie filmmakers over here who do take creative risks, who aspire to realize a vision, to create “art” regardless of commercial potential. In the past year or so, I can think of a few films that take risks that put interesting, creative output over commercial potential. Here’s a few just off the top of my head: Calvin Reeder’s The Oregonian. Mike Tully’s Septien. Mark Jackson’s Without. Sophia Takal’s Green. And my favorite short film (so far) this year, Joshua Miller and Miles Miller’s sublimely weird, beautifully shot Pillow.
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