by Michele Diomà
I’ve been reading IndieWire with great interest for many years! I’ve always been excited by the idea of a magazine that openly prioritizes independent cinema over major studio projects. I firmly believe that all the major breakthroughs in film history have come from indie filmmakers-creators who, despite limited resources, brought original ideas and offered fresh perspectives on cinema. I’ve dedicated my professional life to the mission of discovering independent directors and screenwriters from every corner of the world, almost like a gold prospector in mid-1800s California. That’s why today I’m truly honored and thrilled to welcome Eric Kohn to the WILD FILMMAKER Community with this exclusive interview!
-Who is Eric Kohn?
I am a curator, critic, and producer who was born in Texas and raised in Seattle. I have lived in New York City for several decades and spend my summers in Southampton as the artistic director of the Southampton Playhouse. My interests in cinema are ambitious: I am constantly looking for ways to expand audience awareness for cinema, past and present, eliminating sociological barriers that often prevent some people from engaging more deeply with the art form.
-You were IndieWire’s chief film critic for over 10 years. Can you tell us about that experience?
At IndieWire, I set out to establish a trade-like identity for our reviews by fighting for access to early screenings, and developing a strong festival presence that influenced the life cycle of films around the world. With time, this paid off, though the entertainment landscape eventually became so overwhelmed with reviews and related content that such a competitive approach is irrelevant now. I learned that strong, authoritative perspectives hold more value than the rush to be first out of the gate.
-What does independent cinema mean to you?
It’s an flexible term with a lot of historical baggage, but to me it represents uncompromised filmmaking made outside of traditional commercial expectations.
-I currently read your articles on The Hollywood Reporter. What are the differences compared to IndieWire?
I have written for many publications over the years, from The New York Times to Filmmaker Magazine. More recently, I started a newsletter called The Playhouse Post, which is published by my theater, the Southampton Playhouse. Each publication has its own style guidelines and reader expectations, but I generally find that I can navigate these standards on my own terms.
-WILD FILMMAKER is inspired by the cinematic mission of Roger Corman. My goal is to bring new filmmakers and screenwriters to light on a global scale. Do you think this is still possible today?
Of course. Movies may not command the same cultural weight they once did — and certainly not ones lacking million-dollar marketing budgets — but there is still a global infrastructure for filmmakers with unique visions and the desire to get them into the world.
