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Ray Pride

By Ray Pride Pride@moviecitynews.com

2 prints is how much? S. Korea hates Korean artpix

Kim Ki-duk, director of The Isle, Spring, Summer, Fall, Winter… and Spring and 3-Iron is not putting his money where the rathole is, aiming The Bow at only two screens in the entire country, and skipping press previews. “I realized that outside of feature films with big budgets and famous stars, people in Korea do not go to theaters to watch art films or low budget films…If billions of won is spent on promotion and many copies of the film are made, losing money becomes inevitable given this reality,” the Korea Times quotes Kim from an email. Its Thursday opening boasted 996 tickets sold in one theater each in Seoul and Pusan, a 20% capacity. Hong Sang-soo ” also believes that showing his film in the same manner as big budget films, which are shown at many theaters with billions of won spent on promotion, will obviously lead him to see another commercial failure and eliminate the chance for his fans to see his movie at theaters. “My previous films have never reached the break-even point, so I have been thinking that I have to reduce production cost. That’s why I established my own production company. And I am now discussing releasing my new film at only certain theaters for a long time with its investment and distribution company,’’ Hong said after previewing his Cannes-bound Tale of Cinema. “Hong said success at film festivals has had nothing to do with domestic commercial success… The domestic investment and distribution company… will release the film only at certain theaters that promise to show it for at least 3 weeks regardless of its commercial success.”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon