MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

Showest Serves Up Newsworthy-Lite Fare

LAS VEGAS — Exhibitor or journalist, one no longer attends ShoWest for its newsworthiness. Celebrity sightings are duly noted, as are the latest improvements in cookie-dough confections and sneak previews of tent-pole movies. The absence of any real news went out with the administration of the late, ever-quotable Jack Valenti. When Valenti was ringleader of the…

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Showest, cont’d

When ShoWest members couldn’t be found at a screening, seminar, buffet or banquet, they likely were strolling among the booths at the concurrent trade show, noshing on popcorn, hot dogs and soda pop. It’s here that exhibitors traditionally have been introduced to the latest in concessions, projection and other technical equipment, ticketing devices, lighting fixtures,…

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A Tale of Two Subtitled Mysteries

Although it’s difficult to argue raw numbers, statistics are only as good as the person interpreting them. Homicides and murders are especially tricky. For example, the rates at which such crimes occur can be slanted to reflect something quite different than whole numbers. In 2008, more than 14,000 “unjustified” homicides were reported to the FBI…

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Precious Reigns at Revamped Spirits

The annual Independent Spirit Awards have been slouching toward mainstream for most of the last 10 years, or, roughly, since television fell in love with any awards show that could coax a celebrity to leave his or her Malibu cocoon for the price of a swag bag. Before that, hardly anyone walking down the red…

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Dretzka

Quote Unquotesee all »

“I’ve been pleasantly surprised by how many recappers, while clearly over their heads, are baseline sympathetic to finding themselves routinely unmoored, even if that means repeating over and over that this is closer to “avant-garde art” than  normal TV to meet the word count. My feed was busy connecting the dots to Peter Tscherkassky (gas station), Tony Conrad (the giant staring at feedback of what we’ve just seen), Pat O’Neill (bombs away) et al., and this is all apposite — visual and conceptual thinking along possibly inadvertent parallel lines. If recappers can’t find those exact reference points to latch onto, that speaks less to willful ignorance than to how unfortunately severed experimental film is from nearly all mainstream discussions of film because it’s generally hard to see outside of privileged contexts (fests, academia, the secret knowledge of a self-preserving circle working with a very finite set of resources and publicity access to the larger world); resources/capital/access/etc. So I won’t assign demerits for willful incuriosity, even if some recappers are reduced, in some unpleasantly condescending/bluffing cases, to dismissing this as a “student film” — because presumably experimentation is something the seasoned artist gets out of their system in maturity, following the George Lucas Model of graduating from Bruce Conner visuals to Lawrence Kasdan’s screenwriting.”
~ Vadim Rizov Goes For It, A Bit

“On the first ‘Twin Peaks,’ doing TV was like going from a mansion to a hut. But the arthouses are gone now, so cable television is a godsend — they’re the new art houses. You’ve got tons of freedom to do the work you want to do on TV, but there is a restriction in terms of picture and sound. The range of television is restricted. It’s hard for the power and the glory to come through. In other words, you can have things in a theater much louder and also much quieter. With TV, the quieter things have to be louder and the louder things have to be quieter, so you have less dynamics. The picture quality — it’s fine if you have a giant television with a good speaker system, but a lot of people will watch this on their laptops or whatever, so the picture and the sound are going to suffer big time. Optimally, people should be watching TV in a dark room with no disturbances and with as big and good a picture as possible and with as great sound as possible.”
~ David Lynch