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David Poland

By David Poland

PRESS RELEASE – 2nd Sundance Buy Made Offiicial


6 Responses to “PRESS RELEASE – 2nd Sundance Buy Made Offiicial”

  1. EthanG says:

    Stoked for this one.

  2. Rothchild says:

    Jay Leno said he was “sucker-punched” by Kimmel and didn’t know he was going to rip him to shreds.

  3. Rob says:

    Okay, look, I know what I’m proposing is a total longshot, but if Julianne gets nominated for A Single Man, there needs to be a late-in-the-game Marcia Gay Harden-style upset.
    Everyone’s bored with this Oscar race already, Mo’Nique’s acceptance speeches have been sanctimonious bores, and it will be Julianne’s 5th nomination, at a time when she’s almost 50 and hot as ever. Let’s make this happen, Harvey.

  4. Ju-osh says:

    Entirely Off-topic:
    Dave: Have you heard Jimmy Kimmel’s side of the Leno story yet, and if so, how do you feel it plays into your previously “It’s all just PR” take on it?
    Link to Kimmel talking about it:

  5. hcat says:

    After the Miramax news its good to see Focus still in the game. With all the money bleeding from their parent studio and network, they have to be more than a little nervous about thier future following the Comcast sale.

  6. jennab says:

    Dave, can you give us some perspective on this sale? IMDB purports the budget @ $10 mil, which we can assume is inflated hooey.
    If so, what does a sale of $5 mil mean, and why are folks celebrating? Did the filmmakers sell off the underlying rights to the film, or just distribution rights in certain territories? How will financiers re-coup?
    Yeah, I’ve pretty much given up on indie film (as a business model), yet…there will always be an art house market, and the theatrical market will not die, ever. Especially with 3D reinvigorating the movie-going experience.
    So, how do these numbers crunch? Again, can we just assume that the actual production budget was closer to $3-$4 and that’s why the sale is being touted as a success?
    Your thoughts, please!

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“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima