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Ray Pride

By Ray Pride Pride@moviecitynews.com

Listening to ANOTHER EARTH

A video by Rupert Creswell for the weirdly beautiful “The First Time I Saw Jupiter,” by Brooklyn band Fall On Your Sword, composers of the score to Another Earth. There’s a moment near or at the end of the movie where it kicks in one last time and… lovely.

The financing of low-low-budgeted Another Earth is unusual, reports ace analyst Gregg Goldstein at Variety (paywall) in “Microbudget success boosts nonprofit: Nonprofit shingle turns brings in su[r]prising coin on ‘Earth.'” “Artists Public Domain just scored one of the most profitable sales in the history of Sundance. It’s celebrating a 10-year anniversary. But even if you’re in the film industry, chances are you’ve never heard of this nonprofit producer,” Goldstein introduces. 2008’s Momma’s Man was an earlier production, but it wasn’t the success Another Earth is even before theatrical release. The New York-based nonprofit was paid close to $3 million for Mike Cahill and Brit Marling’s reportedly $150,000 production. Goldstein computes that those figures mean, that despite added costs to make the film ready for delivery to Searchlight, it’s made back ten times its investment. Ah, but here’s the rub: “Under APD’s 501(c)(3) charity rules, none of the filmmakers can profit from it.” “It’s the first time we’ve ever had a film that’s in profit,” co-founder Hunter Gray told Variety. “We’ve never held a fundraiser, we don’t have any employees and we have very little overhead… No one on the board gets paid, and we can never take money out.” Deferred fees can be paid once an APD project makes money, but there are no traditional “points.” Goldstein weighs the intriguing implications (and complications) in the full article at the link.

One Response to “Listening to ANOTHER EARTH”

  1. Mark says:

    Another Earth is the best sci-fi film I have ever seen (and I have seen hundreds)

Movie City Indie

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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