In January, Indie Q will celebrate its one-year anniversary. The e-mail distribution list and networking group for local, independent filmmakers was started by the Albuquerque Film Office in January of 2009. Indie Q members meet the third Wednesday of every other month to discuss the New Mexico film scene, network with one another and screen works-in-progress. Starting Monday, Dec. 20, Indie Q will operate out of a new website, independent of its cabq.gov address. If you’re already signed up to get Indie Q’s helpful e-mails about upcoming auditions, film festivals, screenings, classes and the like, they’ll now be coming to you from firstname.lastname@example.org. If, however, you’re Duke City dweller involved in the independent film scene and aren’t signed up at Indie Q, now’s a perfect time to jump on board. Simply head over to the new website at indieq.ning.com and post a free member profile. There are already 200 locals who have. A profile on Indie Q will allow you to interact with other filmmakers, post events, start film-related discussions and receive those handy film industry e-mails. (And since they’re sent right to your inbox, it’s not like you have to log on to Indie Q every week to find out what’s going on.) Obviously, the more filmmakers involved, the more valuable this group will be. What are you waiting for?
Thanks most likely to the arresting imagery of its trailers, Darren Aronofsky’s beautifully nightmarish film Black Swan has captured a lot of people’s attentions. Despite its rarified setting and artsy style, the “ballet thriller” (I honestly don’t know what else to call it) seems to have danced its way into the zeitgeist. Internet buzz is high, audiences seem curious and the film even scored its own pop-cultural reference on a recent episode of the NBC sitcom “30 Rock.” So what’s all the fuss about?
TV has gotten mighty sneaky about trying to sell us stuff. Realizing that viewers don’t actually like to watch commercials, television networks and their pals over on Madison Avenue have come up with some clever ways of getting us to absorb ads in the past few years. There are the title sponsorships, now common in sports broadcasting (the “FedEx Orange Bowl,” the “VISA Halftime Show”). There’s the rash of “embedded” commercials (Randy and Simon grinning over jumbo-sized cups of refreshing Coca-Cola on “American Idol,” NBC working Subway into several plotlines of its Monday night show “Chuck”). There’s even been a movement to “micro-size” commercials, adding more commercial breaks during a show, but reducing their length from the industry standard two minutes and two seconds. (“We’ll be back in two and two,” as Chuck Woolery used to say on “Love Connection.”)