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David Poland

By David Poland

DP/30 Redux: Morgan Spurlock on POM Wonderful presents The Greatest Movie Ever Sold

3 Responses to “DP/30 Redux: Morgan Spurlock on POM Wonderful presents The Greatest Movie Ever Sold”

  1. Krillian says:

    I like the Spurlock style docs. Would love to see him take on the health-care industry. I know Moore’s done it, but Spurlock wouldn’t try to paint Cuba as some medicinal utopia.

  2. Don R. Lewis says:

    Spurlocks movie is BRILLIANT. I could kind of cared less about the info regarding product placement, but watching him rake in cash for his movie was incredibly entertaining and inspiring. Go see this film. Also, POM made out like bandits on this. I saw the film at a recent festival and everyone was calling it “POM wonderful.”

  3. Geoff says:

    Spurlock gets a bum rap – SuperSize Me is one of the most entertaining documentaries in recent years. Was just watching Exit Through the Gift Shop, last night – movie kicks major ass, just watching Banksy do his shtick in silhouette. Who say’s doc’s always have to be so serious and life-affirming??? I’m seeing this tonight and expecting a pure lark – looking forward to it….

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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.'”
~ 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