I suppose I’m now sufficiently free from the grip of prospective festival invites, that I can give voice to some of my thoughts surrounding the Independent Film landscape. My take — is simple Batman. Festivals are dead. And, movie theaters are the problem. At least, it was that simple when I started to float this idea several years ago. However, only recently have I heard filmmakers voice the first part, with sufficient volume — both in audio, and in amount. Previously it was a select few, secretly muttering it, after glancing over both shoulders. I used to describe festivals as “derelict of duty” — unclear of their mission, lost chasing clout, money, or politics be them interpersonal or global. But, now I don’t even blame them. The economics of film, lead by shifting forces that are far beyond the control of these institutions, has left them in a hard spot. Desperate to cover their own costs, with dwindling interest in the medium. If you’re feeling uncharitable you could draw lines back to their own lack of curatorial vision to shepherd a healthier more vital medium, one more dynamic and inquisitive. But — the purpose of today’s post is less about the festivals. The point I really want to get to is: Theaters. Again, this might be slightly outdated but — there was a time when owning a theater was good business, or at least, easier business. Book a film that’s coming out, run it for a month or so, and let the money roll in stupid. Popcorn, soda, etc. Now I’m not saying it was necessarily good economically, but to oversimplify — you picked from a limited slate of movies, and the business worked. However, I think theaters actually misunderstood their value proposition to their audience. Or more realistically the value changed. It wasn’t JUST a matter of scarcity: “you can only see hot new movie X for 1 month, before it goes away” but the fact that theaters are their own medium. They are an experience, not merely an exclusive window. In the example I’ve Sorkin’d out all over town, this is the part where I say “you-can-play-Indiana-Jones-in-any-theater-in-America-tomorrow and sell tickets, not because people haven’t seen it — they want something else. An experience. Big and loud and next to like minded people.” But this old type of theater owner wants the business to stay the same — they are trying to hold onto the scarcity model. They think about themselves as dumb pipes for the Hollywood production/distribution machine. As victims of Hollywood, or changing tastes etc. But one thing they might not be anymore are film lovers. In many cases they are more likely business men, or second or third generation owners in charge of asset management. Alternatively they might be AMC, Regal, Cinepolis — or if they aren’t they got bought out by these national and global cinema chains. So we are left with poorly managed husks, with the same programing everywhere dutifully changing the cardboard stands and posters, but with no real passion for film. Where the most effort that can be mustered is the announcement of a discount club. Enter theaters like @Metrograph , or Now Instant (in Los Angeles) — and I’m sure many others I’m not aware of — theaters owned by film lovers, competitively programing films in a way to enrich and expand their local film culture. Creating social media clips, engaging screening series, mini write-ups, hand made zines, and in the case of Metrograph a fully fledged magazine, and a streaming platform. So in short, I think the mission of film festivals now falls on local theaters. Where festivals used to break new talent, provide a brand of quality, educate, excite, and inspire audiences this should now be the domain of local theaters. Mixing not just the best of films from history, but MOST IMPORTANTLY premiering new films by local or unestablished filmmakers. Its not hard to imagine a small film proudly emblazoning a Metrograph laurel on their poster and have that brand mean something to a larger audience in the way a Sundance or SXSW does. Theaters are architecturally specific. Walk down old main streets and you see the bones of old theaters trying to pass as electronic stores, pawn shops, cafes, or places that sell stretchy jeans on provocative mannequins. Theaters remain. It’s in cities that are not media centers like NY/LA where I find the most possibility. Take over an old theater! Play local films! Develop a scene! Someone makes a modestly budgeted film, invites the crew, their friends, and the crew’s friends — you fill the theater right there — and someone is bound to leave that night inspired to make a movie of their own (either out of spite or awe!). Before you know it, these films are in conversation, a local flavor emerges, a scene is developed. The films that ape the larger commercial film trends will fail, b.c they simply can’t compete with the Hollywood made offerings. These local films will need to offer something else — and the theater owners should help define these tastes, with creative programs that help set the context and keep an audience engaged. The local films that are successful enough, can unlock more markets. Rise to national status, continuing their run for the better part of a year or longer, and begin to cover the cost of their own production. Imagine regional film scenes like how one thinks of the different music scenes of the past. Creating new voices, new stars, or at the very least seed the mainstream with new ideas. For the price of a film that will go to a festival and not sell, you could fund several years of running a local theater, perhaps giving them enough runway to become a self sustaining endeavor. But that starts to touch other issues facing the film ecosystem — which is patronage vs. investment, and what film investors are really in it for — AND what are filmmakers really in it for. Which are all topics for another day. Anyway, this isn’t exhaustive by any means, and I get that few things really work this cleanly. But let the take away be that right now, theaters seem to be the place in the industry ripe with opportunity, with room to grow, and experiment.