MCN Blogs
Ray Pride

By Ray Pride

Playing Field: Todd's Risky Little Children

Writer-actor-director-sometimes-photographer Todd Field‘s multiple virtues don’t escape Anne Thompson as his soph feature, Little Children debuts: “Like many actors, Field’s emotions run close to the surface; after the first screening of In the Bedroom at Sundance, he broke down as he talked about losing his two mentors before they could see the film: author Andre Dubus, who wrote the short story on which the film was based, and his… Eyes Wide Shut director Stanley Kubrick. Field’s experience makes him a brilliant actor’s director… After Miramax… picked up Bedroom, then-Miramax head [Harvey] Weinstein recommended cuts. [Field] guarded his print with his life. Weinstein was not pleased, but when many critics hailed Bedroom, Miramax pulled out the stops on an Oscar campaign. lc_crossing235.jpg Field “frets about the details. All directors are control freaks to some degree… He fusses and worries and drives many people around him crazy. “He thinks he knows more than everyone else,” says one producer who worked with Field as an actor… “He carries the weight of everything on his shoulders,” one source close to the production says. “He makes the movie in his head and sweats and bleeds for it. He’s absolutely fully committed to what he’s doing. How to achieve what he’s trying to do is the only thing he cares about. He’s wedded to actualizing his vision. He’s one complicated dude.”

Comments are closed.

Movie City Indie

Quote Unquotesee all »

“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.'”
~ Paul Schrader

“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.”
~ Eric Allen Hatch