ARTICLE BY SEAN GLASS

Dear KiptonART Readers,

Firstly, I'd like to introduce myself.  I won't give one of those boring bios, for while I'm sure I'll tell you my life's story eventually, let's just stick to the basics for now.  My name is Sean Glass.  I grew up in New York, went to Emerson College in Boston where I majored in Film.  I'm a big film nerd, have over 4,000 movies rated on my Netflix.  Now, I'm trying to make my own.

I met the great Kipton Cronkite through a good friend and coworker, Jack Bryan (more on Jack's Documentary Life After Dark: The Story of Siberia Bar later), when he screened the film at the Soho House a few months ago.  From there, Kipton and I have had a dialogue about art and film, and all that good stuff.  One particular item of interest has been New York Film Collective, which I started a few months ago, after thinking of the idea, well, back when I was an embryo probably.  It is my answer to many, many questions and problems that I have with filmmaking today.
   
New York Film Collective, more than anything, is an exchange of resources.  It is not a networking tool.  The goal is to put as much into a film as possible before spending the first dollar.  Instead of raising money to rent equipment, pay crew, and such, NYFC does it all internally.  It's like a mini vertically integrated studio.  We have members who are writers, actors, directors, producers, makeup artists, composers, editors, stylists, even carpenters.  Instead of outsourcing or just having people wear many hats, we actually have the quantity and quality of people to get a project done right without compromising.
   
Now, this has nothing to do with money.  NYFC works because it not only serves to make projects better, but it fulfills everyone's individual needs as well.  For some, that's getting experience on set or watching as a film gets edited (i.e. the boom holder on one film might turn into the sound mixer on the next).  For others, it may be donating their time in exchange for NYFC's support on another outside project (a great Director of Photography shoots a short film, and in return, we get him lots of crew on his next music video).
   
It's not just about getting things done though.  One of the core philosophies behind NYFC is that filmmaking is a collaborative medium.  I consider it to be like film school done right.  We hold meetings that everyone attends.  In these meetings, the Director might discuss the breakdown with the Producer, or the shooting plan with the DP.  Everyone from the actors to the makeup artists get to hear these conversations, and hopefully contribute their ideas.  Either way, when we get to set, everyone is better informed and prepared, and feels more involved and passionate about the project because it's not just one person's film.  We do the same with the website.  We have all of our scripts, comments, breakdowns, schedules, etc. up there for everyone to see.
   
Anyway, I will be writing on KiptonArt as much as possible, giving you updates on what both NYFC and I are up to, as well as sharing my general thoughts on filmmaking and the industry at large.  I am very excited to be sharing this with not just a wide audience, but one that I respect, for if you're reading KiptonART'S site, you're obviously well informed.
   
Next post, look forward to my rant on how I came to the idea of New York Film Collective and all of the frustrations incurred.  After that, I'll update you on all of the projects we have going on.  Until then, don't go watch the new James Bond movie.  It's bad.  I still don't know what it was about.   Feel free to email me your thoughts on Quantum of Solace, or NYFC, or Brazilian Horror movies, particularly Brazilian Horror movies, my favorites.
sg
sglass@sdotstudios.com