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By Ray Pride Pride@moviecitynews.com

Trailering TO ROME WITH LOVE

http://www.youtube.com/watch?v=quYMphMnugw

To Rome With Love, via the Via Blogorosa: Hoping Sony Pictures Classics won’t mind, but this first trailer for Woody’s latest Eurologue is via Huffington Post who got it from TrailersAddicted, who lifted it from Yahoo! Movies, which still has its watermark on the image. But it’s all publicity among good friends, right?

One Response to “Trailering TO ROME WITH LOVE”

  1. Daniella Isaacs says:

    I never get why some Allen movies hit and others fail. I thought CASSANDRA’S DREAM was better than MATCH POINT, YOU WILL MEET A TALL DARK STRANGER at least as good as MIDNIGHT IN PARIS. For whatever it’s worth, I see this as a moderate hit–not up to PARIS levels, but better than VICKY CHRISTINA… You just never know with him. The title change, is for the worse, but will probably help sell tickets.

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies