MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup: Monte Hellman, Les Blank, Dirty Movies, Lines of Wellington, Drunk History and more

Traditionally, the one sure way to kill a genre film’s commercial appeal is for a critic to label it “existential” or “experimental” or compare it to the films of Antonioni. No matter how much a Western or road picture was embraced by intellectuals, if it didn’t draw a crowd to the drive-in or local bijou, no amount of arthouse revenues could save it or advance the career of the artiste. Monte Hellman broke into the movie business in 1959 with a string of genre films made under the Corman banner: Beast From Haunted Cave, The Terror and a pair of back-to-back collaborations with Jack Nicholson, Back Door to Hell and Flight to Fury and The Shooting and Ride in the Whirlwind. Five years would pass before Universal attempted to tap into the counterculture market with his “existential road movie,” Two-Lane Blacktop. Forty years later, this unqualified financial disaster would enter the National Film Registry of the Library of Congress, where The Shooting and Ride in the Whirlwind someday may find themselves as well.

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The DVD Wrapup: Into the Storm, Automata, Wind Rises, Summer’s Tale, Brazilian Western, Alive Within, I Am Ali, Worricker, Monkey Shines and more

Ever since Western film critics and animation buffs helped convince Walt Disney Company to showcase the work of Hayao Miyazaki, by distributing titles from Studio Ghibli outside Japan, niche audiences here have applauded his takes on mankind’s struggle to balance nature and technology, the strength and wisdom of his female characters, and maintaining a pacifist stance in world enamored of war. They also have admired the ways fantasy and supernatural themes are integrated into manga-influenced stories of almost breathtaking visual beauty. Knowing Americans’ genetic predisposition to not reward movies that carry subtitles, Disney has arranged for casts of prominent voice actors to mute any objections to them.

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The DVD Wrapup: Mood Indigo, Jersey Boys, Tammy, Happy Christmas, Land Ho!, I Am Yours, Demons, Ornette/Jason, S.O.B., Compleat and more

Imagine a collaboration between Jacques Tati, Pee-wee Herman and Giacomo Puccini and it might resemble Michel Gondry’s latest romantic fantasy, Mood Indigo, not that he needs much help in that department.

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Dretzka

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas