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David Poland

By David Poland poland@moviecitynews.com

P-n-P Blog Factory

I was planning on holding an update on The Pete-n-Pat Blog Show for a while. After all, we

7 Responses to “P-n-P Blog Factory”

  1. marychan says:

    I thought that NO COUNTRY FOR OLD MEN is also very profitable for Paramount Vantage…. isn’t it?

  2. SJRubinstein says:

    Bart’s “The Myths of Comic-Con” was akin to reading an essay on somebody’s first experience with a microwave oven written in 2003.

  3. IOIOIOI says:

    That’s good stuff, SJR. Good stuff.

  4. Chucky in Jersey says:

    “No Country for Old Men” was split between Par and Miramax. So was “There Will Be Blood”.

  5. RocketScientist says:

    NCFOM was wisely marketed by Miramax, deliberately and pointedly so, courtesy both the Coens and Scott Rudin, all of whom were very aware of Vantage’s inabilities (and yes, Poland, I know that Coligan’s husband is Rudin’s head of production – doesn’t change the fact neither Rudin nor the Coens know Vantage ain’t worth it shit when it comes to peddling product; Rudin’s got DOUBT set-up nicely at Miramax and they’ll poise it to sweep the Oscars yet again).
    It is still crazy to me that TWBB lost money … it was one of the few movies Vantage didn’t go to great things to screen 100,000 times, thereby effectively reducing their ticket buying audience exponentially.
    And speaking of that, looks like AMERICAN TEEN will be ARCTIC TALE all over again – an overextended, overexposed campaign of hundreds of screenings that’ll be lucky to amount to $5 million when it’s all said and done. I’m surprised Vantage hasn’t been blown away entirely.

  6. RocketScientist says:

    I’ve been reading too many IOIOIOIOIO posts … forgot how to properly utilize English. Corrections below.
    “I know that Coligan’s husband is Rudin’s head of production – doesn’t change the fact both Rudin and the Coens know Vantage ain’t worth it shit when it comes to peddling product …”
    “It is still crazy to me that TWBB lost money … it was one of the few movies Vantage didn’t go to great lengths to screen 100,000 times, thereby effectively reducing their ticket buying audience exponentially.”

  7. David Poland says:

    The problem with Vantage last year was five movies… without No Country. But the biggest thing was that Lesher didn’t like No Country.
    There is no question. Rudin is more comfortable at Miramax. New York based. Hand in hand with 42 West.
    But Vantage actually pulled every f-ing dime there was to pull out of most of the movies they didn’t dump. Do you really think there was more money in Blood, Babel, Into The Wild or even The Kite Runner or A Mighty Heart? I don’t. No one has ever gotten more out of less doc than they got out of An Inconvenient Truth.
    And the issues around TWBB and how they handled the film were mostly not Vantage issues… ’nuff said.
    Except to say, getting TWBB to a nomination is not an indication that “Vantage ain’t worth it shit when it comes to peddling product.” That was nothing close to a lock as a nomination. And they got there.
    I have to admit, I was pleasantly shocked by how well and quickly Megan adapted to marketing. She is equally underqualified to have moved up at Paramount… but much less so than Lesher himself. And we’ll see how it all plays out. She and Guy are very smart and they know how to manage up.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé