What is indie power?: In selecting and ranking The Hollywood Reporter's second annual Indie Power 50, we evaluated candidates based on the following criteria:

What the person has achieved in the independent film world during the past 12 months -- including box office performance and awards potential of projects on which he or she has worked; a candidate's track record and overall standing in the independent community; a candidate's position within his or her company; a candidate's access to finance and distribution; impact: how much a candidate can get things done in his or her area of the indie world

A team of THR editors and writers determined the list and rankings after extensive debate and research. For this list, "independent" is defined as independently financed or specialty-division fare made and/or distributed outside the major studios on modest budgets. The executives, producers and financiers who also work on higher-budget or major studio films were judged only on their influence and achievements in the indie/specialty world.

The complete list of executives follows:
http://www.hollywoodreporter.com/hr/content...

# 22. Mark Urman
Head of U.S. theatrical, ThinkFilm

ThinkFilm had a few Sundance missteps in 2007 -- neither "The Ten" nor "In the Shadow of the Moon" blew out the boxoffice. But thanks to the strategic rollout of Sidney Lumet's critically beloved "Before the Devil Knows You're Dead" in the fall, the company's first year conjoined with Capitol Films has been a qualified success. Credit Urman, the wry and chatty indie dynamo who, with little marketing cash, orchestrated a 2007 Oscar nomination for Ryan Gosling ("Half Nelson") and appears poised to do the same this year with "Devil." "We want to make awards part of the ThinkFilm story," Urman says. While ThinkFilm is still independent, it can now board projects that Capitol is financing, like "Devil" or the upcoming Italian period feature "My Brother Is an Only Child," instead of relying almost exclusively on the finished-film market. And even though ThinkFilm helped usher in the docu renaissance with "Spellbound" six years ago, Urman knows that market is sagging: "We can still be a purveyor of high-caliber nonfiction films, and we'll still look for them in Park City, but we're not fooling ourselves that we're getting rich off these movies."