MCN Columnists
Gary Dretzka

Dretzka By Gary DretzkaDretzka@moviecitynews.com

The DVD Wrapup; Curling, God Help the Girl, Like Sunday Like Rain, Escape From New York and more

Something tells me that Stuart Murdoch’s underappreciated musical fantasy, God Help the Girl, might have found its rightful audience if the title were a bit more precise in targeting its intended audience. Something like, “MTV Presents ‘God Help the Girl’” or “Belle and Sebastian Want You to See This Movie” or “Love in the Time of Retro Rock.’”

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The DVD Wrapup: Babadook, Big Eyes, Happy Valley, Tale of Winter, Odd Man Out, The Missing and more

Despite the warm welcome accorded The Babadook by festival audiences and critics of both the mainstream and genre persuasion, this nifty Australian export about things that go bump in the night received an unfairly puny release upon its arrival here. I can’t explain why that might be so, except to point out that someone in the distribution game really missed the boat.

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The DVD Wrapup: A Most Violent Year, Interstellar, The Immigrant and more

Extremely well-crafted and emotionally taxing, The Immigrant depicts one Polish immigrant’s introduction to the dark side of the American Dream, circa 1921. Ironically, if it suffers at all, it’s from the familiarity we have with all of the movies and documentaries that were informed by the same photographs and newsreel footage. Practically every scene harkens to images already etched into our collective consciousness. It couldn’t help but distract me, even momentarily, from the personal drama of Ewa Cybulska.

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The DVD Wrapup: Imitation Game, The Circle, Roommates, Putin, MST3K and more

What separates Morten Tyldum’s take on the story from the others is the magnetic presence of Benedict Cumberbatch, as the almost madly single-minded computer scientist, Alan Turing, and the level of tension sustained throughout The Imitation Game’s 114-minute length. The less-told story describes how British authorities later would go so far out of their way to tarnish the legacy of the brilliant cryptanalyst and mathematician, who, according to Winston Churchill, made the single greatest contribution in England’s war effort. Despite having played an essential role in the Allies’ victory over fascism, police used his homosexuality as an excuse to harass, humiliate and prosecute Turing.

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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