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Ray Pride

By Ray Pride Pride@moviecitynews.com

Truly spending: on the first trio of Truly Indie pics

Chantal Outon of Austin Business reports on one of the first lambs of the TrulyIndie initiative: “After Mari Marchbanks’ debut feature-length movie, Fall to Grace, premiered at this year’s South by Southwest Film Festival… the Austin independent filmmaker knew her life was about to change. … “It’s tough out there in the film festival circuit, marketing the film. I thought, ‘This is a whole new game,'” Marchbanks says…. Marchbanks’ film is one of the first three independent films chosen for Truly Indie, an initiative formed by… 2929 Entertainment LP, whose companies include… Landmark Theatres and Magnolia Pictures Distribution. [Mark] Cuban is co-owner of 2929… Kelly Sanders in the Austin office of Magnolia Pictures/Landmark Theatres is the point person for Truly Indie. She’ll work with Landmark’s Los Angeles office and Magnolia’s New York office on the new initiative.” Which, of course, requires more out-of-pocket. “Filmmakers retain all the box-office receipts and film rights, and they pay an upfront fee that covers all distribution costs, including publicity, advertising and marketing. A one-week placement of a movie in 5 markets can cost a filmmaker about $40,000, while a weeklong theatrical run in 20 markets can cost up to $150,000, says Bill Banowsky, CEO of Magnolia Pictures and Landmark Theatres…. “We work with the filmmaker to create a release strategy most likely to reach the film’s largest audience in the most efficient way.” …The other two films chosen for the Truly Indie initiative are Donal Logue’s “Tennis Anyone” and Ian Gamazon and Neill dela Llana’s “Cavite,” which was shot in the Philippines on a $10,000 budget.” [More at the link.]

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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