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David Poland

By David Poland poland@moviecitynews.com

Hold It Right There!

There are few dealmakers smarter than David Geffen. Even as a man with great taste acting as an impresario over the years, it has been his skill at the negotiating table (and away from it) that has made him a billionaire.
And here, in the Universal deal, we see his skill as a Texas Hold

5 Responses to “Hold It Right There!”

  1. Mark Ziegler says:

    I honestly thought Dreamworks would become a powerhouse. A force. Hasn’t happend.

  2. PandaBear says:

    I think Spielberg alone is worth the price to pay for it. It’s like getting Michael Jordan in his prime. You have to go for it.

  3. joefitz84 says:

    No way SS screws his own movie for some business deal. That is not his style.

  4. Sanchez says:

    A billion, 700 mill, chump change!

  5. bicycle bob says:

    spielberg holds all the cards. he can really make or break any deal right now.

The Hot Blog

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
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“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
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