“Yeah, we’ve always been really clear that we have no intention of selling the company or trying to go public. We’re an independent organization that’s focused on things we believe in, which is helping people create. There can be a tendency as organizations grow that you soften or become more middle of the road, and that’s not us. As a company whose community and brand are built on the Web, I think we have to be a dynamic living organization, and that’s a constant challenge. Hitting a billion dollars is like — cool, great, now let’s get back to it.”—
“What we really need is a changed film culture that views online self-releases not with disdain, as second-rate work, but with curiosity. If films that do not receive theatrical distribution are legitimized, so to speak, we’ll find films with more success in this realm, and may even begin to see filmmakers opting to go this route as opposed to trying to sell their film.”—
For awhile now, 99% of the films generated have essentially gone unseen. The film industry is finally waking up to this overall change. Are we now prepared for the next step? And the appropriate one at that?
“Sites like Filmmaker Magazine and IndieWire have significant readerships, and who’s to say they might not be able to provide some revenue for filmmakers if they became online-only distribution platforms?”—
“And what better place to look for female storytellers and non-stereotypical actresses than independent film? Days before CBS announced Greta Gerwig’s involvement in ‘How I Met Your Dad,’ HBO announced that filmmaker Hannah Fidell will be adapting her 2013 indie, ‘A Teacher,’ into a series. Only more indication that television, taking a cue from the indie film world, is now placing a greater value on female voices. And that’s wonderful. In the future, we can only hope that shows written and produced by women featuring vibrant female characters become the norm and not just a rarities.”—
“All a website needs is eyeballs—with that and no other requirement, an original series could prove worthwhile. Viewers are no longer concerned with the brand of the content distributor, as audiences may have been back in the 80s or 90s. Content has reached a new egalitarian state, and viewers are consistently differentiating less between different channels through which content is provided.”—