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David Poland

By David Poland poland@moviecitynews.com

The Film Delivelution: 30811

Universal First Studio to Make All Movie Clips Available Online

Missing from this Hollywood Reporter headline? “Intentionally.”

Because, as we all know, the most popular moments from many, many movies are on YouTube already. But those are not fully controlled or monetized by the studios. This announcement with AnyClip.com is another step towards studios being much more aggressive about controlling their own content.

AnyClip’s service, which seems great at first – until you look real close – is interesting conceptually. There are still very limited clips. For instance, they have Fast Times At Ridgemont High, but no Spicoli and the Phoebe Cates/Judge Reinhold bathing suit scene is listed, but is not available when you click on it. Ratings issues may be an unspoken issue. And the embed option is not currently available on any clip… and that is, really, what will make the whole thing work. It’s not looking through clips that is fun. It’s the ability to contextualize with them.

9 Responses to “The Film Delivelution: 30811”

  1. yancyskancy says:

    I’ve been trying to think of a circumstance in which I would find this AnyClip service useful. I got nothin’. Maybe if I’m writing a paper or essay and want to refresh my memory of certain moments without pulling out a DVD? Or I’m sitting around with friends and need to settle a bet about a particular moment or line of dialogue? Whatever. I don’t get it.

  2. Oddvark says:

    How is this different than http://movieclips.com/ which has way more clips (from a bunch of different major studios, including Universal)?

  3. David Poland says:

    seems to be the same thing.

    Interestingly, different clips from Fast Times.

    Will look into it.

  4. LexG says:

    Phoebe Cates was OK but that scene was always overrated. JJL has much better nudity in the movie and I prefer white girls to Vaguely Asian (TM SNL), even if the only thing I’ve ever been able to pull in my adult life is Asian Pussy because White Men In L.A. can’t get White Women.

  5. yancyskancy says:

    I just like how that’s the first scene Dave goes looking for on these sites. :)

  6. Proman says:

    Yeah, Lex. THAT’s your problem. Keep saying that to yourself.

  7. cadavra says:

    Seriously, Lex, what part of Burbank are you in? I’m there frequently and there are plenty of WW walking around.

  8. LexG says:

    Yeah, old horse-crone types.

  9. cadavra says:

    Sigh…

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch