Company/Organization Profiles | Local Industry

IFP Market Report

1 Nov , 2002  

Written by Michele Meek | Posted by:

A smaller, more focused Independent Feature Project (IFP) Market in New York City showcased several local films in its 24th year.

The Independent Feature Project (IFP) Market may have changed its name in 2000, but it didn’t make its millennial shift until now.

This year marked several significant changes for the Market — a more rigorous selection criteria with a reduction of 40% in accepted projects; the discontinuance of screening narrative features (although they did screen a handful); and a greater focus on works-in-progress and scripts.

At first glance, it may seem odd that the Market would phase out narrative features when films like "Reservoir Dogs," "Paris is Burning," "Slacker" and "Welcome to the Dollhouse" have made it famous. But actually, it makes sense. When the Market first launched in 1979, there was no Sundance. And since then, thousands of other festivals have cropped up across the globe, many of them requesting premieres of films.

Instead of competing for finished films on their way to the festival circuit, the Market has wisely bowed out and focused more on their niche of piquing industry interest for projects at the development stage. As well, a smaller roster of films means generally higher quality of the projects screened at this year’s Market.

"It seems like a big change this past year — less films and more works in progress," says William Rogers whose documentary "Bode Miller: Flying Downhill" screened as a work-in-progress as this year’s Market. "It’s going back to its core."

Attendees seemed to be in agreement that the carnival atmosphere that has become associated with the Market is a thing of the past.

"The smell of fear in the [Angelika Film Center] lobby was greatly reduced," says Rob Moss whose documentary "The Same River Twice" returned to this year’s Market as a completed project. "You don’t have the hordes of people climbing all over each other to get to the few people who supposedly count."

Of course, a smaller Market does create a problem for filmmakers who now must compete for fewer slots. And even a documentary-heavy region like New England saw a sharp decline in the number of projects represented than in previous years. Yet, it’s a necessary change in order for the Market to maintain its level of seriousness in the industry.

The smaller Market created a different atmosphere, overall. Filmmakers have always been supportive of each other’s work, but this year the solidarity was even more palpable. "I was really amazed by the talent there, and the encouragement, the sense of camaraderie of filmmakers," says Melanie Perkins who attended the market for the first time to represent her work-in-progress "Have You Seen Andy?"

In addition to the screenings and video library where buyers could view projects, the Market staff also set up networking meetings where filmmakers had the opportunity to pitch their project to several industry buyers. "The networking session was very useful. It gave you the opportunity to meet the people you need to meet to talk about the film," says Perkins.

None of the local filmmakers had specific news to report yet, but they all realize the IFP Market is not about overnight success stories.

"If you don’t have the expectation for immediate gratification and you just sort of roll with it, then it can be an extremely successful experience," says Moss. "With the IFP, things don’t happen immediately. One queue ball hits another queue ball, which hits another queue ball. You have to trace it back a few steps to see the connection."

Other filmmakers agree. "If you go into it realizing the [Market] is about meeting filmmakers, showcasing your work, and meeting prospective buyers — it’s very beneficial," says Perkins.


See a complete list of the New England films at the 2002 IFP Market.  For more information visit http://market.ifp.org/market24.

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