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David Poland

By David Poland poland@moviecitynews.com

DP/30 Sneak Peek: Bill Mechanic On VOD & Windows

Bill Mechanic was at Disney as President, International Distribution & Worldwide Video from, 1984 – 1994. In 1994, he went to Fox as Chairman/CEO of Fox Filmed Entertainment. He currently produces movies via Pandemonium Films. And he produced the Oscars 2 years ago.

“It’s not whether it has to happen or there’s a natural evolution of things. You can cause things to fail.”



“If you’re telling someone, ‘You’re going to be executed tomorrow,’ and there’s a gun pointed at our forehead, then you’re going to have problems. If you say, ‘There’s no problem… don’t worry about tomorrow,’ then you get to lure them into the execution without problems.”

“Piracy is stupid. If your business is still at record levels… then piracy is having an impact, but it’s not killing your business, so why would you kill your business to stop piracy?”



“If you fail in this market, you don’t fail all the way. You can make that clunker that doesn’t really work for $200 million, you’re still getting a large portion of your money back… you’re earning money in every subsequent market. You take away every subsequent markets and you fail (in theatrical) and essentially… cataclysm.”

One Response to “DP/30 Sneak Peek: Bill Mechanic On VOD & Windows”

  1. The Pope says:

    David, congrats on getting this interview BEFORE that list was published today. Great piece(s). Can we see the whole thing?

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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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