Awards Archive for September, 2007

Docs

Kim Vonyar does a nice job starting down the doc road for the year in Cinematical.
But she misses the most important doc of 2007 by a country mile… Tony Kaye’s best-ever-in-the-category Lake of Fire.
If you think I am exaggerating, go see the movie. It’s no cuddly Moorian tour of abortion clinics with wacky right-wingers out on the lawn, happy to be humiliated by a celebrity.
If you haven

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Who'll Do It?

It occurred to me last night…
The battle between Blu-Ray and HD-DVD is hot and heavy… both companies are willing to spend millions to get studios to join the effort on one side or the other…
The biggest challenge for the marketers is to get people to, finally, commit to buying these machines.
And what group would be an obvious key demographic for the players involved? How about 6000 members of The Academy and the 9000 or so people who are in guilds, groups, and media who also get screeners?
Of course, the majority of these folks can afford to buy machines if they so choose. But getting them/us off the dime is a challenge.
So what if either Sony, on the Blu-Ray side, and Microsoft on the HD side made a play to make sure that those who get 50+ screeners this awards season get them in traditional DVD AND in the High Definition version of their creation?
If I have 20 of the top movies of the year sitting on my shelf in one of these formats, even if I can just pop in the regular DVD, isn’t the temptation to consider a new player increased significantly… especially if I have the hi-def TV, which this demographic has more in larger numbers than most?
It’s the old razors and razor blades concept, except that in this case, the cost of the initial razor is what is prohibitive… and if you can get them to buy the razor at all, there is an incremental value to selling these blades instead of the old one… but the bigger issue is not making a fortune on DVD “razors,” but market share for these players, which is life and death… especially to the Japanese business model.
Of course – and not entirely unfairly – some of you will think I just want a bunch of free High Definition DVDs on my shelf. Guilty.
But had I not recently joined the hi-def game. After a week with a souped up DVR

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Can Lars & The Real Girl Be This Year

I saw just under an hour of Lars & The Real Girl a few days ago, having to run out to see another film whose last TIFF screening I had to catch while here. The film was charming and odd and unexpected

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Quote Unquotesee all »

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