Politics Archive for February, 2011

Building the Indie “Brand” — If We Build It, Will the Audience Come?

I was just mulling over the importance of indie filmmakers and regional film fests in the afterglow of the Oxford Film Festival and the slew of upcoming regional fests, when lo! A trend (well, if you can call two articles a “trend”) arose this month on pieces about the whys and wherefores of Hollywood making shitty movies. Apparently I’m not the only one who’s been thinking about why this is so.
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Documenting Social Justice and the Racial Divide

Right now I am particularly interested in the role of regional film fests in addressing greater social issues through both films and ancillary programming. I believe strongly in the role of regional fests to educate and inform as well as to entertain.
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Wish List for the Future of Indie Film

Out of the blue, I woke up this morning thinking about Alexis Tioseco and Nika Bohinc . Maybe I was pondering on this whole AOL/HuffPo thing, and even more about The AOL Way and how it tries to reduce into Powerpoint slides geared toward traffic and keywords how writers should write, and how editors should assign stories.
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Why Are So Many Films for (Insert Group of Your Choice) Bad?

Alonso Duralde, writing for Salon, ran a piece the other day asking why so many films for Latinos are bad. The heart of his piece: Spanish-speaking countries have given cinema bankable, artsy, serious actors like Javier Bardem, Penelope Cruz, Gael Garcia Bernal, Salma Hayek … so, Duralde ponders, ” …why is Hollywood returning the favor by making such dreadful movies for Latino audiences?”

It’s an interesting enough question, but try reversing Duralde’s premise: Is Hollywood is making terrific movies for everyone but Latinos? Maybe in some parallel universe, but certainly not in this one. Blacks, Whites, Latinos, Asians, Gays, Women, hell, even kiddie flicks and teen schlock — the problem is not that Hollywood makes shitty movies for Latinos, it’s that Hollywood, with very few exceptions, makes shitty movies for everyone. Unfortunately, people keep paying to see them, and as long as that’s the case, Hollywood will keep on churning them out.
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Huff Po Sale: Arianna $300 Million, Writers 0

David has his own detailed take on the HuffPo sale to AOL, and it’s a good write-up with some interesting comments which you should read if you’re interested in that sort of thing.

For me, here’s what the HuffPo sale really means:

Ariana Huffington managed to take a model of paying people little (in some cases) to nothing (in most cases) for the privilege of having work “published” on HuffPo. “Citizen journalists” my ass. Using a spin on the “unpaid intern” huckster sell, she convinced many, many smart people to give her their hard work for free, so that she could build up a site over a few years and then sell it for $300 million.
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Politics

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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