Last week, Internet heavy-hitter Google invaded headlines when it snapped up youtube.com for $1.65 billion.  That proved the film and digital video landscape as vastly in-demand, fast-growing territory.  Where it’s going to go, nobody knows.  All the more reason it’s the perfect time for Resfest -- NY-based Res magazine’s annual film and digital art festival -- to celebrate its 10th anniversary.

The international event opens tomorrow in Chicago, then travels to Paris’ acclaimed Centre Pompidou before moving on to an additional 45 cities (Lima, Berlin, Jakarta and San Francisco included).  Whether you’re an aspiring filmmaker, or just interested in the current online video phenomenon, open your eyes, clear your ears, and grab your note pads -- their motto is “to inspire, to entertain, and to educate.”

 This year, the festival, which has featured past speakers like Mike Mills, Michel Gondry, Anton Corbin and Jonathan Glazer, is expected to draw from 200,000 to 300,000 attendees worldwide.  They received over 2,200 submissions from festival hopefuls.  We called up Resfest’s NY-born, London-based head programmer, Jeremy Boxer, and got the word, below: 

How did you get involved with Resfest?
I had a film in the first festival.  Six years later I became part of the Resfest team (I was the London representative and was responsible for expansion across Europe).  I’ve worked on programming for the last 4 years.  I’ve been head of programming for the last year.

How would you describe Resfest?
It’s a touch-point for people with similar interests to find stuff they’re into.  We’re showing different people who are leaders in what they do.  

How has film and digital art changed in the last 10 years?
10 years ago even the word ‘digital’ was sci-fi.  It wasn’t mainstream at all.  The tools are being proliferated. In the last 10 years, prices have come down; more people have an easier point of entry. 

Not to mention entry points like YouTube.
Yeah, I’m really interested to see what Google is going to do with it.  It’s changed the face of digital film.  It’s so easy to get your work up there.  It can only get bigger.  That’s the power of broadband. 

Are there any cities you’re finding particularly exciting right now when it comes to film and digital art?
They all have it.  It’s amazing to go to all these different cities and see the symbiotic relationship they have with Resfest.  One in particular I really like is a studio, Platige, from Poland.  Brazil and Australia are also interesting at the moment.  

What’s on the program for this year?
There are 150-250 films and music videos. We try to be a filter for the best work out there. It’s a balance of the best and what we can get exclusively. This year we’re showing Sundance winner “Bug Crush” [from Carter Smith] and an animated film by Run Wrake called “Rabbit.” We also chose Radiohead as our band to cover. We’re showing their work from the past decade in celebration of our past ten years. They were the ones who actually gave directors a decent budget to play with and helped filmmakers like Jonathan Glazer, and Shynola break into the mainstream. I remember Chris Hopewell telling me that when Radiohead asked him to direct their video [“There, There”] he was literally about to go on the dole. The budget for that video was about ten times what his previous videos were and it really put him on the map. Now Hopewell has his own production company, Collision Films, in Bristol.

Is the program the same in each city?
The festivals are flexible.  We put together 10-12 standard programs that we bring to each of the cities, but each also adds a local mix, with local film screenings and local filmmakers speaking.  In Korea, Resfest is a 10-day event.  In Paris it’s 2.  We’re bringing the majority of those local mixes to the states. 

What trends did you see in the films produced and submitted to Resfest this year?
Every year there are certain trends; we’ve been seeing a resurgence of stop-frame animation as digital still-cameras have made for an easier process.  You can always tell what level of filmmaking most of the films are at.  But the level of filmmaking is increasing every year.  This year’s theme is ecology and sustainability, so the overall theme is filmmaking with a purpose. 

What advice do you have for filmmakers who are just starting out?
The idea is the most important thing.  We’ve had student filmmakers win our audience award and beat well-known directors.  It’s a level playing field.  So, it becomes much more about the idea.  As long as you have a strong idea, keep it simple and do all the details you can.  Work within your limitations, the best that you can. 

~Alisa Gould-Simon

Watch It:

For information on screenings, locations and dates, check out resfest.com